Sexually Distinct Song Cultures Across a Songbird Metapopulation

Songbirds learn their songs culturally, through imitating tutors. The vocal culture of a songbird population changes as new song units (syllables) are introduced through immigration, copying errors, and innovation, while other syllables fall out of use. This leads to a diversification of the syllable pool across the species, much like the diversification and spatial patterns of human language. Vocal cultures have been well-studied in male songbirds but have been largely overlooked in females. Here we undertake one of the first comparisons of male and female song cultures across a songbird metapopulation—studying New Zealand bellbirds Anthornis melanura spanning a network of six islands. Having classified 20,700 syllables (702 types), we compare population syllable repertoire sizes and overlap between sites and sexes. We show that males and females—both with complex songs—have distinct song cultures, sharing only 6–26% of syllable types within each site. Furthermore, male and female syllable types can be statistically discriminated based on acoustic properties. Despite diverse syllable repertoires within sites, few syllable types were shared between sites (both sexes had highly distinct site-specific dialects). For the few types shared between sites, sharing decreased with distance only for males. Overall, there was no significant difference between sexes in degree of site–site repertoire overlap. These results suggest different cultural processes at play for the two sexes, underlining the inadequacy of male-centric song research and calling for comparisons of male and female song cultures in many more species.

Fearless song

Máire Bhuí Ní Laeire, a farmer’s wife who could neither read nor write, gained great acclaim in the oral tradition from the late eighteenth century due to her exceptional abilities at song making and the uncompromising disdain for the colonial establishment expressed therein. Her compositions are most closely associated with the period from the 1820s onward when the Rockite agrarian movement was at its strongest, and when millenarian belief was widespread among members of that agrarian secret society. Her songs represent an alternative tradition of thought that lived in the elusive moment of performance itself, fostered by a rich oral culture that existed parallel to official written accounts. In this unofficial, though highly influential, sphere of idea-making, the illiterate female song poet would engage with the most pressing political concerns of her community and society, demonstrating the sheer power of song for political engagement and thought formation. Three key elements of Ní Laeire’s work and legacy will be considered herein: oral aesthetics, oral composition, and training; representations of prophecy and parrhesia in the songs themselves; and a re-appraisal of the role of the illiterate Irish-speaking female song poet in the history of anti-colonial thought and activism.

Sexual and temporal variation in New Zealand bellbird song repertoires

How song repertoires vary within species and change over time is well studied in male songbirds. However, variation in female song repertoires remains largely unstudied despite female song being much more common and complex than once assumed. We investigated the song syllable repertoire of the New Zealand bellbird (Anthornis melanura), a species where both sexes have complex but sexually dimorphic song. We compared songs at individual and population levels to investigate sex and temporal variation of syllable repertoires. We detected 96 syllable types in the population over four years, of which 58% were unique to males, 32% unique to females and 9% were shared between the sexes. The population syllable repertoire of both sexes changed substantially across years with similar turnover rates (Jaccard’s similarity coefficients; female 52.9–69.0%; male 58.6–73.7%). Furthermore, many syllable types, unique to each sex, varied in prevalence within the population across years. The syllable repertoire sizes of individuals were higher for males than females (13-32, n = 7 and 6-16, n = 8, respectively). Although these sample sizes were low, the temporal variation in syllable prevalence and turnover for individuals were similar to patterns at the population level. Overall, male and female bellbirds exhibited similarities in temporal patterns of yearly repertoire composition, with rapid changes in syllable prevalence, but females had fewer syllable types than males. We suggest that these similarities and differences are consistent with male and female song repertoires being driven by similar but not identical selection pressures.

Female Bengalese finches recognize their father’s song as sexually attractive

Birdsong is an important communication signal used in mate choice. In some songbirds, only males produce songs while females do not. Female birds are sensitive to inter- and intra-species song variation. Some aspects of female song preference depend on developmental experiences. For example, in Bengalese finches and zebra finches, adult females prefer the song to which they were exposed early in life, such as the father’s song. However, it is unclear whether such song preference in females is sexually motivated. The purpose of our study is to test if female Bengalese finches recognize their father’s song as sexually attractive. We measured copulation solicitation displays during playbacks of the father’s song vs. unfamiliar conspecific songs and found that across individuals, the father’s song elicited more displays than other songs. In addition, we analyzed if a bird’s response to a given song could be predicted by the level of similarity of that song to the father’s song. The results suggest that preference for the father’s song in this species is actually relevant to mate choice. Although more precise control is necessary in future studies to elucidate the process of preference development, our results imply the significance of early-life experience in shaping female song preference.

Sexually distinct song cultures in a songbird metapopulation

Songbirds learn their songs culturally, through imitating tutors. The vocal culture of a songbird population changes as new song units (syllables) are introduced through immigration, copying errors, and innovation, while other syllables fall out of use. This leads to a diversification of the syllable pool across the species, much like the diversification and spatial patterns of human language. Vocal cultures have been well studied in male songbirds but have been largely overlooked in females. In particular, few studies compare spatial variation of male and female song cultures. Here we undertake one of the first comparisons of male and female song culture in birds, analysing song data from a metapopulation of New Zealand bellbirds Anthornis melanura, spanning an archipelago of six islands. Having classified 20,700 syllables, we compare population syllable repertoire sizes and overlap between sites and sexes. We show that males and females - both with complex songs - have distinct song cultures, sharing only 6-26% of syllable types within each site. Furthermore, male and female syllable types can be statistically discriminated based on acoustic properties. Despite diverse syllable repertoires within sites, very few syllable types were shared between sites (both sexes had highly distinct site-specific dialects). For the few types shared between sites, sharing decreased with distance only for males. Overall, there was no significant difference between sexes in degree of site-site repertoire overlap. These results show different cultural processes at play for the two sexes. We discuss the implications for future research on female culture.

Sex role similarity and sexual selection predict male and female song elaboration and dimorphism in fairy-wrens

Historically, bird song complexity was thought to evolve primarily through sexual selection on males, yet in many species both sexes sing. Previous research suggests competition for mates and resources during short, synchronous breeding seasons leads to more elaborate male songs at high latitudes. In contrast, we expect male-female song dimorphism and elaboration to be more similar at lower latitudes because longer breeding seasons and year-round territoriality yield similar social selection pressures in both sexes. However, studies seldom take both selective pressures and sexes into account. We examined song elaboration and sexual dimorphism in 15 populations of nine fairy-wren species (Maluridae), a Southern Hemisphere clade with female song. We compared song elaboration and sexual song dimorphism to latitude and life history variables tied to sexual and social selection pressures and sex roles. Our results suggest that song elaboration evolved in part due to sexual competition in males: male song variability was more positively correlated with temperate breeding and greater breeding synchrony than female song. We also found strong evidence that sex-role similarity contributed to male-female song similarity: male and female songs were shorter and more similar when parental care was more equal and when male survival was high. Contrary to Northern Hemisphere latitudinal patterns, songs were less dimorphic at higher, temperate latitudes. These results suggest that selection on song can be sex-specific, with male song elaboration favored in contexts coincident with sexual selection. However, selection pressures associated with sex-role similarity also appear to constrain sex specific song evolution and song dimorphism.

Frequent female song in blue tits: behavioural context suggests a role in intrasexual competition

The blue tit (Cyanistes caeruleus) is an important avian model in evolutionary ecology (> 20,000 published scientific studies). Song, like in other songbird species, is generally described as a male trait and plays an important role in mate attraction and territory defence. Over the decades, there have been recurring reports of anecdotal female song but these have not led to any quantitative study of female song in blue tits. Our systematic sampling over three years revealed prolific female singing in a northern population of colour ringed blue tits. Daytime singing of females occurred throughout the breeding season during agonistic interactions, solo songs and alarm situations, and these contexts are similar to male song. Notably, female song was absent during the dawn chorus; the period around sunrise when males sing intensively just before mating. Female and male song overlapped substantially in acoustic structure (i.e. same song types, peak frequency or trill rates) but there were also significant differences in that females had smaller repertoires, shorter trills and lower vocal consistency. Differential selections pressures related with contextual (functional) differences in the role of male and female song could explain the observed differences in acoustic structure. The new finding of prolific female singing in such a well-studied species suggests we ought to revise our understanding of male and female vocal communication in this (and probably other) species. Identifying the selection pressures associated to the convergence versus divergence of male and female song may provide important insight in understanding birdsong evolution.