Song Transmission as a Formal Cultural Practice

From a biological point of view, the singing of songs is based on the human vocal learning capacity. It is universally widespread in all cultures. The transmission of songs is an elementary cultural practice, by which members of the older generations introduce both musico-linguistic rules and affect-regulative means to the younger ones. Traditionally, informal singing in familiar settings primarily subserves affect-regulation goals, whereas formal song transmission is embedded in various normative claims and interests, such as preserving cultural heritage and representing collective and national identity. Songs are vocal acts and abstract models that are densely structured and conform to cultural rules. Songs mirror each generations’ wishes, desires, values, hopes, humor, and stories and rest on unfathomable traditions of our cultural and human history. Framed in the emerging scientific field of didactics, I argue that research on formal song transmission needs to make explicit the norms and rules that govern the relationships between song, teacher, and pupils. I investigate these three didactic components, first, by conceptualizing song as rule-governed in terms of a grammar, with songs for children representing the most elementary musico-linguistic genre. The Children’s Song Grammar presented here is based on syllables as elements and on syntactic rules concerning timing, tonality, and poetic language. It makes it possible to examine and evaluate songs in terms of correctness and well-formedness. Second, the pupils’ learning of a target song is exemplified by an acoustical micro-genetic study that shows how vocalization is gradually adapted to the song model. Third, I address the teachers’ role in song transmission with normative accounts and provide exemplary insights into how we study song teaching empirically. With each new song, a teacher teaches the musico-linguistic rules that constitute the respective genre and conveys related cultural feelings. Formal teaching includes self-evaluation and judgments with respect to educational duties and aesthetic norms. This study of the three-fold didactic process shows song transmission as experiencing shared rule-following that induces feelings of well-formedness. I argue that making the inherent normativity of this process more explicit – here systematically at a descriptive and conceptual level – enhances the scientificity of this research domain.

Form and Function Predict Acoustic Transmission Properties of the Songs of Male and Female Canyon Wrens

To function effectively, animal signals must transmit through the environment to receivers, and signal transmission properties depend on signal form. Here we investigated how the transmission of multiple parts of a well-studied signal, bird song, varies between males and females of one species. We hypothesized that male and female songs would have different transmission properties, reflecting known differences in song form and function. We further hypothesized that two parts of male song used differentially in broadcast singing and aggressive contests would transmit differently. Analyses included male and female songs from 20 pairs of canyon wrens (Catherpes mexicanus) played and re-recorded in species-typical habitat. We found that male song cascades used in broadcast singing propagated farther than female songs, with higher signal-to-noise ratios at distance. In contrast, we demonstrated relatively restricted propagation of the two vocalization types typically used in short-distance aggressive signaling, female songs and male “cheet” notes. Of the three tested signals, male “cheet” notes had the shortest modeled propagation distances. Male and female signals blurred similarly, with variable patterns of excess attenuation. Both male song parts showed more consistent transmission across the duration of the signal than did female songs. Song transmission, thus, varied by sex and reflected signal form and use context. Results support the idea that males and females of the same species can show distinctly different signal evolution trajectories. Sexual and social selection pressures can shape sex-specific signal transmission, even when males and females are communicating in shared physical environments.

Aspects of Irish-language song transmission in Munster, 1700–1850

This chapter looks at aspects of Irish-language song transmission in Munster in the eighteenth and the first half of the nineteenth century. As musical airs were ascribed to written poetry with greater and greater frequency in manuscript sources throughout the eighteenth century, the suggested airs to which this sung poetry circulated will be discussed, and reference made to the oeuvre of the most prominent of the eighteenth-century Munster poets, who often set their poetry to the popular tunes of their day. Aspects of oral and literary transmission of song will be given consideration, before focusing on two important collections of Irish song, taken from the field in the mid-nineteenth century.

A female perspective: testing the effects of noise masking on signal transmission patterns inside the nest box

During the breeding season, avian pairs coordinate interactions with songs and calls. For cavity nesting birds, females inside nest boxes may rely on male vocalizations for information. Anthropogenic noise masks male songs, which could affect information gained by females. We explored song transmission from a female house wren (Troglodytes aedon) perspective, testing the hypothesis that noise masking alters songs that reach females inside nest boxes. We broadcast songs at three distances up to 25 m from nest boxes and re-recorded songs using two microphones, positioned inside and outside nest boxes. We measured signal-to-noise ratios and cross-correlation factors to estimate the effects of masking on transmission. In noise, songs received inside nest boxes had lower signal-to-noise ratios and cross-correlation factors than songs recorded outside of boxes, and these effects decreased with distance. For females, noise may reduce information conveyed through male songs and in response pairs may need to adjust their interactions.

When to change your tune? Unpaired and paired male house wrens respond differently to anthropogenic noise

In response to anthropogenic noise, many bird species adjust their song frequency, presumably to optimize song transmission and overcome noise masking. But the costs of song adjustments may outweigh the benefits during different stages of breeding, depending on the locations of potential receivers. Selection might favor unpaired males to alter their songs because they sing to attract females that may be widely dispersed, whereas paired males might not if mates and neighbors are primary receivers of their song. We hypothesized male house wrens (Troglodytes aedon) respond differently to noise depending on their pairing status. To test our hypothesis we synthesized pink noise, which mimics anthropogenic noise, and played it at three intensities in territories of paired and unpaired focal males. We recorded their songs and analyzed whether song structure varied with pairing status and noise treatment. To validate our study design, we tested whether noise playback affected measurement of spectral song traits and changed noise levels within territories of focal males. Consistent with our predictions, unpaired males sang differently than paired males, giving longer songs at higher rates. Contrary to predictions, paired males changed their songs by increasing peak frequency during high intensity noise playback, whereas unpaired males did not. If adjusting song frequency in noise is beneficial for long-distance communication we would have expected unpaired males to change their songs in response to noise. By adjusting song frequency, paired males reduce masking and produce a song that is easier to hear. However, if females prefer low frequency song, then unpaired males may be constrained by female preference. Alternatively, if noise adjustments are learned and vary with experience or quality, unpaired males in our study population may be younger, less experienced, or lower quality males.

Sentimental Remembrance and the Amusements of Forgetting in Karl and Harty's “Kentucky”

In the 1940s “Kentucky” was the greatest hit of Karl and Harty, one of radio's most popular country music duos during the heyday of live hillbilly music in Chicago. Soon after it was released in 1941, aspects of “Kentucky” were already being forgotten—indeed, were predicated on forgetting outmoded racial formations and modes of song transmission—though the song is explicitly about remembering the lost spaces of rural, southern youth. The nostalgic sentimentality of “Kentucky” occludes a secondary stratum of musical and textual qualities that evoke racialized modes of dance and entertainment. Through close analysis, interviews, and archival work, we examine the song's racial and geographical signifiers and source models to show how tensions between its dual dialectic of memory/forgetting and sentimentality/entertainment participated in the mid-twentieth-century decline of hillbilly music and rise of commercial country.

Within-Territory Habitat Use and Microhabitat Selection by Male Cerulean Warblers (Dendroica Cerulea)

Although most habitat characteristics are known to be continuously variable in space, practicality dictates that most habitat-selection studies at the spatial scale of the territory treat within-territory habitat as essentially homogeneous. However, the limitations associated with such a compromise have remained largely unexamined. Male Cerulean Warblers (Dendroica cerulea) exhibit nonrandom space- use patterns within their territories, in that all territories contain areas of intensive use or core areas. In addition to documenting territory-wide habitat and behavioral use patterns in this species, we asked two specific questions about core-area structure and function. (1) Are core-area habitats distinct in their vegetative composition and structure from the rest of the territory? (2) What behavioral mechanisms underlie the nonrandom space-use patterns? On a territory-wide basis, males used trees in proportion to their availability; however, core areas were predominantly composed of bitternut hickory (Carya cordiformis), which was a highly preferred song-post tree. Core areas were not consistently associated with any other habitat feature, including canopy gaps. Core areas were singing centers; song-post densities within core areas were 10× higher than in noncore areas. In our study area, bitternut hickories have significant delayed leaf-out patterns, potentially offering minimal acoustic hindrance to song transmission until late in the breeding season. These singing centers may be strategically placed to simultaneously maintain vigilance over social nests and maximize communication with conspecifics. Core areas are potentially as important to males as nesting habitat is to females, and their provision should be taken into account when implementing conservation or management strategies. Uso de Hábitat en los Territorios y Selección de Microhábitats por los Machos en Dendroica cerulea