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Chapter 5 Bioacoustics Approaches in Biodiversity Inventories
Chapter 5 Bioacoustics approaches in biodiversity inventories by Martin K. Obrist Swiss Federal Research Institute WSL, Biodiversity and Conservation Biology Zürcherstrasse 111, CH-8903 Birmensdorf, Switzerland Email: [email protected] Gianni Pavan Centro Interdisciplinare di Bioacustica e Ricerche Ambientali Dipartimento di Biologia Animale, Università di Pavia Via Taramelli 24, 27100 Pavia, Italy Email: [email protected] Jérôme Sueur Muséum national d'Histoire naturelle, Département Systématique et Evolution UMR 7205 CNRS OSEB, 45 rue Buffon, 75005 Paris, France Email: [email protected] Klaus Riede Zoologisches Forschungsmuseum Alexander Koenig Adenauerallee 160, 53113 Bonn, Germany Email: [email protected] Diego Llusia Fonoteca Zoológica, Museo Nacional de Ciencias Naturales (CSIC) José Gutierrez Abascal 2, 28006 Madrid, Spain Email: [email protected] Rafael Márquez Fonoteca Zoológica, Museo Nacional de Ciencias Naturales (CSIC) José Gutierrez Abascal 2, 28006 Madrid, Spain Email: [email protected] 68 Abstract Acoustic emissions of animals serve communicative purposes and most often contain species-specific and individual information exploitable to listeners, rendering bioacoustics predestined for biodiversity monitoring in visually inaccessible habitats. The physics of sound define the corner stones of this communicative framework, which is employed by animal groups from insects to mammals, of which examples of vocalisations are presented. Recording bioacoustic signals allows reproducible identification and documentation of species’ occurrences, but it requires technical prerequisites and behavioural precautions that are summarized. The storing, visualizing and analysing of sound recordings is illustrated and major software tools are shortly outlined. Finally, different approaches to bioacoustic monitoring are described, tips for setting up an acoustic inventory are compiled and a key for procedural advancement and a checklist to successful recording are given. -
The Musical Influences of Nature: Electronic Composition and Ornithomusicology
University of Huddersfield Repository McGarry, Peter The Musical Influences of Nature: Electronic Composition and Ornithomusicology Original Citation McGarry, Peter (2020) The Musical Influences of Nature: Electronic Composition and Ornithomusicology. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/35489/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Peter McGarry U1261720 The Musical Influences of Nature: 1 Electronic Music and Ornithomusicology University Of Huddersfield The School of Music, Humanities and Media Masters Thesis Peter McGarry The Musical Influences of Nature: Electronic Composition and Ornithomusicology Supervisor: Dr. Geoffery Cox Submitted: 23/12/2020 Peter McGarry U1261720 The Musical Influences of Nature: 2 Electronic Music and Ornithomusicology Abstract Zoomusicology is the study of animal sounds through a musical lens and is leading to a new era of sonic ideas and musical compositions. -
Morphological and Molecular Identification of Isospora
Acta Protozool. (2019) 58: 17–23 www.ejournals.eu/Acta-Protozoologica ACTA doi:10.4467/16890027AP.19.007.10838 PROTOZOOLOGICA Morphological and Molecular Identification of Isospora sepetibensis (Chromista: Miozoa: Eimeriidae) from a New Host, Trichothraupis melanops (Passeriformes: Thraupidae: Tachyphoninae) in South America Jhon Lennon GENOVEZ-OLIVEIRA1, Sergian V. CARDOZO2, Águida A. de OLIVEIRA3, Viviane M. de LIMA3, Ildemar FERREIRA3, Bruno P. BERTO3 1 Programa de Pós-Graduação em Biologia Animal, Universidade Federal Rural do Rio de Janeiro (UFRRJ), Brazil 2 Programa de Pós-Graduação em Biomedicina Translacional, Universidade do Grande Rio, Rua Professor José de Souza Herdy 1160, 25071-202 Duque de Caxias, RJ, Brazil 3 Departamento de Biologia Animal, Instituto de Ciências Biológicas e da Saúde, UFRRJ, RJ, Brazil Abstract. Isospora sepetibensis Berto, Flausino, Luz, Ferreira and Lopes, 2008 is a protozoan coccidian parasite (Chromista: Miozoa: Coc- cidiomorphea: Coccidia) that was originally described from Brazilian tanagers Ramphocelus bresilius (Linnaeus, 1766) in the Marambaia Island in the Coast of the State of Rio de Janeiro. In the current work, this species was identified from black-goggled tanagersTrichothraupis melanops (Vieillot, 1818) in the Itatiaia National Park, which is a protected area with a high degree of vulnerability in the interior of the State of Rio de Janeiro, distant in more than 100 km of the type-locality. Its oocysts are sub-spherical to elongate ovoidal, 25.9 × 20.7 µm with smooth, bi-layered wall, ~ 1.3 µm and length/width ratio of 1.1–1.4 (1.26). Micropyle and oocyst residuum absent, but one or two polar granules are present. -
Birding the Atlantic Rainforest, South-East Brazil Itororo Lodge and Regua 11Th – 20Th March 2018
BIRDING THE ATLANTIC RAINFOREST, SOUTH-EAST BRAZIL ITORORO LODGE AND REGUA 11TH – 20TH MARCH 2018 White-barred Piculet (©Andy Foster) Guided and report compiled by Andy Foster www.serradostucanos.com.br Sunday 11th March The following 10 day tour was a private trip for a group of 4 friends. We all flew in from the UK on a BA flight landing the night of the 10th and stayed in the Linx Hotel located close to the International airport in Rio de Janeiro. We met up for breakfast at 07.00 and by 08.00 our driver had arrived to take us for the 2.5 hour drive to Itororo Lodge where we were to spend our first 6 nights birding the higher elevations of the Serra do Mar Mountains. On the journey up we saw Magnificent Frigatebird, Cocoi Heron, Great White Egret, Black-crowned Night Heron, Neotropic Cormorant and Roadside Hawk. By 10.30 we had arrived at the lodge and were greeted by Bettina and Rainer who would be our hosts for the next week. The feeders were busy at the lodge and we were soon picking up new species including Azure-shouldered Tanager, Brassy-breasted Tanager, Black-goggled Tanager, Sayaca Tanager, Ruby- crowned Tanager, Golden-chevroned Tanager, Magpie Tanager, Burnished-buff Tanager, Plain Parakeet, Maroon-bellied Parakeet, Rufous-bellied Thrush, Green-winged Saltator, Pale-breasted Thrush, Violet- capped Woodnymph, Black Jacobin, Scale-throated Hermit, Sombre Hummingbird, Brazilian Ruby and White-throated Hummingbird…. not bad for the first 30 minutes! We spent the last hour or so before lunch getting to grips with the feeder birds, we also picked up brief but good views of a Black-Hawk Eagle as it flew through the lodge gardens. -
A Definition of Song from Human Music Universals Observed in Primate Calls
bioRxiv preprint doi: https://doi.org/10.1101/649459; this version posted May 24, 2019. The copyright holder for this preprint (which was not certified by peer review) is the author/funder. This article is a US Government work. It is not subject to copyright under 17 USC 105 and is also made available for use under a CC0 license. A definition of song from human music universals observed in primate calls David Schruth1*, Christopher N. Templeton2, Darryl J. Holman1 1 Department of Anthropology, University of Washington 2 Department of Biology, Pacific University *Corresponding author, [email protected] bioRxiv preprint doi: https://doi.org/10.1101/649459; this version posted May 24, 2019. The copyright holder for this preprint (which was not certified by peer review) is the author/funder. This article is a US Government work. It is not subject to copyright under 17 USC 105 and is also made available for use under a CC0 license. Abstract Musical behavior is likely as old as our species with song originating as early as 60 million years ago in the primate order. Early singing likely evolved into the music of modern humans via multiple selective events, but efforts to disentangle these influences have been stifled by challenges to precisely define this behavior in a broadly applicable way. Detailed here is a method to quantify the elaborateness of acoustic displays using published spectrograms (n=832 calls) culled from the literature on primate vocalizations. Each spectrogram was scored by five trained analysts via visual assessments along six musically relevant acoustic parameters: tone, interval, transposition, repetition, rhythm, and syllabic variation. -
SEM Awards Honorary Memberships for 2020
Volume 55, Number 1 Winter 2021 SEM Awards Honorary Memberships for 2020 Jacqueline Cogdell DjeDje Edwin Seroussi Birgitta J. Johnson, University of South Carolina Mark Kligman, UCLA If I could quickly snatch two words to describe the career I first met Edwin Seroussi in New York in the early 1990s, and influence of UCLA Professor Emeritus Jacqueline when I was a graduate student and he was a young junior Cogdell DjeDje, I would borrow from the Los Angeles professor. I had many questions for him, seeking guid- heavy metal scene and deem her the QUIET RIOT. Many ance on studying the liturgical music of Middle Eastern who know her would describe her as soft spoken with a Jews. He greeted me warmly and patiently explained the very calm and focused demeanor. Always a kind face, and challenges and possible directions for research. From that even she has at times described herself as shy. But along day and onwards Edwin has been a guiding force to me with that almost regal steadiness and introspective aura for Jewish music scholarship. there is a consummate professional and a researcher, teacher, mentor, administrator, advocate, and colleague Edwin Seroussi was born in Uruguay and immigrated to who is here to shake things up. Beneath what sometimes Israel in 1971. After studying at Hebrew University he appears as an unassuming manner is a scholar of excel- served in the Israel Defense Forces and earned the rank lence, distinction, tenacity, candor, and respect who gently of Major. After earning a Masters at Hebrew University, he pushes her students, colleagues, and community to dig went to UCLA for his doctorate. -
Animal Bioacoustics
Sound Perspectives Technical Committee Report Animal Bioacoustics Members of the Animal Bioacoustics Technical Committee have diverse backgrounds and skills, which they apply to the study of sound in animals. Christine Erbe Animal bioacoustics is a field of research that encompasses sound production and Postal: reception by animals, animal communication, biosonar, active and passive acous- Centre for Marine Science tic technologies for population monitoring, acoustic ecology, and the effects of and Technology noise on animals. Animal bioacousticians come from very diverse backgrounds: Curtin University engineering, physics, geophysics, oceanography, biology, mathematics, psychol- Perth, Western Australia 6102 ogy, ecology, and computer science. Some of us work in industry (e.g., petroleum, Australia mining, energy, shipping, construction, environmental consulting, tourism), some work in government (e.g., Departments of Environment, Fisheries and Oceans, Email: Parks and Wildlife, Defense), and some are traditional academics. We all come [email protected] together to join in the study of sound in animals, a truly interdisciplinary field of research. Micheal L. Dent Why study animal bioacoustics? The motivation for many is conservation. Many animals are vocal, and, consequently, passive listening provides a noninvasive and Postal: efficient tool to monitor population abundance, distribution, and behavior. Listen- Department of Psychology ing not only to animals but also to the sounds of the physical environment and University at Buffalo man-made sounds, all of which make up a soundscape, allows us to monitor en- The State University of New York tire ecosystems, their health, and changes over time. Industrial development often Buffalo, New York 14260 follows the principles of sustainability, which includes environmental safety, and USA bioacoustics is a tool for environmental monitoring and management. -
Transposition, Hors-Série 2 | 2020, « Sound, Music and Violence » [Online], Online Since 15 March 2020, Connection on 13 May 2020
Transposition Musique et Sciences Sociales Hors-série 2 | 2020 Sound, Music and Violence Son, musique et violence Luis Velasco-Pufleau (dir.) Electronic version URL: http://journals.openedition.org/transposition/3213 DOI: 10.4000/transposition.3213 ISSN: 2110-6134 Publisher CRAL - Centre de recherche sur les arts et le langage Electronic reference Luis Velasco-Pufleau (dir.), Transposition, Hors-série 2 | 2020, « Sound, Music and Violence » [Online], Online since 15 March 2020, connection on 13 May 2020. URL : http://journals.openedition.org/ transposition/3213 ; DOI : https://doi.org/10.4000/transposition.3213 This text was automatically generated on 13 May 2020. La revue Transposition est mise à disposition selon les termes de la Licence Creative Commons Attribution - Partage dans les Mêmes Conditions 4.0 International. 1 TABLE OF CONTENTS Introduction Introduction. Son, musique et violence Luis Velasco-Pufleau Introduction. Sound, Music and Violence Luis Velasco-Pufleau Articles Affordance to Kill: Sound Agency and Auditory Experiences of a Norwegian Terrorist and American Soldiers in Iraq and Afghanistan Victor A. Stoichita Songs of War: The Voice of Bertran de Born Sarah Kay Making Home, Making Sense: Aural Experiences of Warsaw and East Galician Jews in Subterranean Shelters during the Holocaust Nikita Hock Interview and Commentaries De la musique à la lutte armée, de 1968 à Action directe : entretien avec Jean-Marc Rouillan Luis Velasco-Pufleau From Music to Armed Struggle, from 1968 to Action Directe: An Interview with Jean-Marc -
The Composition and Performance of Spatial Music
The Composition and Performance of Spatial Music A dissertation submitted to the University of Dublin for the degree of Doctor of Philosophy Enda Bates Trinity College Dublin, August 2009. Department of Music & Department of Electronic and Electrical Engineering Trinity College Dublin Declaration I hereby declare that this thesis has not been submitted as an exercise for a degree at this or any other University and that it is entirely my own work. I agree that the Library may lend or copy this thesis upon request. Signed, ___________________ Enda Bates ii Summary The use of space as a musical parameter is a complex issue which involves a number of different, yet interrelated factors. The technical means of performance, the sonic material, and the overall musical aesthetic must all work in tandem to produce a spatial impression in the listener which is in some way musically significant. Performances of spatial music typically involve a distributed audience and often take place in an acoustically reverberant space. This situation is quite different from the case of a single listener at home, or the composer in the studio. As a result, spatial strategies which are effective in this context may not be perceived correctly when transferred to a performance venue. This thesis examines these complex issues in terms of both the technical means of spatialization, and the compositional approach to the use of space as a musical parameter. Particular attention will be paid to the effectiveness of different spatialization techniques in a performance context, and what this implies for compositional strategies which use space as a musical parameter. -
Major Heading
THE APPLICATION OF ILLUSIONS AND PSYCHOACOUSTICS TO SMALL LOUDSPEAKER CONFIGURATIONS RONALD M. AARTS Philips Research Europe, HTC 36 (WO 02) Eindhoven, The Netherlands An overview of some auditory illusions is given, two of which will be considered in more detail for the application of small loudspeaker configurations. The requirements for a good sound reproduction system generally conflict with those of consumer products regarding both size and price. A possible solution lies in enhancing listener perception and reproduction of sound by exploiting a combination of psychoacoustics, loudspeaker configurations and digital signal processing. The first example is based on the missing fundamental concept, the second on the combination of frequency mapping and a special driver. INTRODUCTION applications of even smaller size this lower limit can A brief overview of some auditory illusions is given easily be as high as several hundred hertz. The bass which serves merely as a ‘catalogue’, rather than a portion of an audio signal contributes significantly to lengthy discussion. A related topic to auditory illusions the sound ‘impact’, and depending on the bass quality, is the interaction between different sensory modalities, the overall sound quality will shift up or down. e.g. sound and vision, a famous example is the Therefore a good low-frequency reproduction is McGurk effect (‘Hearing lips and seeing voices’) [1]. essential. An auditory-visual overview is given in [2], a more general multisensory product perception in [3], and on ILLUSIONS spatial orientation in [4]. The influence of video quality An illusion is a distortion of a sensory perception, on perceived audio quality is discussed in [5]. -
Low Frequency Spatialization in Electro-Acoustic Music and Tel (02) 9528 4362 Performance: Composition Meets Perception Fax (02) 9589 0547 Roger T
not ROCKET SCIENCE but REAL SCIENCE Pyrotek Noise Control recognises that the effective specification of a product needs reliable data. As such we are working with some of the world’s leading testing and certification organisations to help support our materials with clear unbiased test data giving a specifier the facts about our products’ performance. With an ongoing research and testing budget we have some interesting data to share. To keep up to date with all the additions to testing we are making, simply contact us for a personal visit or review our website www.pyroteknc.com and sign up for our ‘PRODUCT UPDATE’ emails and we will keep you up to date with our developments. you can hear a pin drop www.pyroteknc.com manufacturing quietness testing_april2014.indd 1 19/03/2014 3:02:43 PM Acoustics Australia EDITORIAL COMMITTEE: Vol. 42, No. 2 August 2014 Marion Burgess, From the Guest Editor.....................................................75 Truda King, Tracy Gowen From the President . .77 From the Chief Editor .....................................................78 PAPERS Acoustics Australia All Editorial Matters Special Issue: AUDITORY PERCEPTION (articles, reports, news, book reviews, new products, etc) Native and Non-Native Speech Perception The Editor, Acoustics Australia Daniel Williams and Paola Escudero. .........................................79 c/o Marion Burgess In Thrall to the Vocabulary [email protected] www.acoustics.asn.au Anne Cutler. ............................................................84 Active Listening: Speech Intelligibility in Noisy Environments General Business Simon Carlile . ...........................................................90 (subscriptions, extra copies, back issues, advertising, etc.) Auditory Grammar Mrs Leigh Wallbank Yoshitaka Nakajima, Takayuki Sasaki, Kazuo Ueda and Gerard B. Remijn. 97 P O Box 70 OYSTER BAY NSW 2225 Low Frequency Spatialization in Electro-Acoustic Music and Tel (02) 9528 4362 Performance: Composition Meets Perception Fax (02) 9589 0547 Roger T. -
Toward a New Comparative Musicology
Analytical Approaches To World Music 2.2 (2013) 148-197 Toward a New Comparative Musicology Patrick E. Savage1 and Steven Brown2 1Department of Musicology, Tokyo University of the Arts 2Department of Psychology, Neuroscience & Behaviour, McMaster University We propose a return to the forgotten agenda of comparative musicology, one that is updated with the paradigms of modern evolutionary theory and scientific methodology. Ever since the field of comparative musicology became redefined as ethnomusicology in the mid-20th century, its original research agenda has been all but abandoned by musicologists, not least the overarching goal of cross-cultural musical comparison. We outline here five major themes that underlie the re-establishment of comparative musicology: (1) classification, (2) cultural evolution, (3) human history, (4) universals, and (5) biological evolution. Throughout the article, we clarify key ideological, methodological and terminological objections that have been levied against musical comparison. Ultimately, we argue for an inclusive, constructive, and multidisciplinary field that analyzes the world’s musical diversity, from the broadest of generalities to the most culture-specific particulars, with the aim of synthesizing the full range of theoretical perspectives and research methodologies available. Keywords: music, comparative musicology, ethnomusicology, classification, cultural evolution, human history, universals, biological evolution This is a single-spaced version of the article. The official version with page numbers 148-197 can be viewed at http://aawmjournal.com/articles/2013b/Savage_Brown_AAWM_Vol_2_2.pdf. omparative musicology is the academic comparative musicology and its modern-day discipline devoted to the comparative study successor, ethnomusicology, is too complex to of music. It looks at music (broadly defined) review here.