Video 2. “Pāṭṭum nānē pāvamum nānē” song sequence from Tiruvilayadal (1965).

AbstractRecent experiments demonstrated that in oscine species, 1) Some special sequences of multipartite songs convey more sexual information than others and 2) Stimulus change or switching is often associated with intersexual interactions. We looked for an influence of these two song cues in common domesticated canaries. Female canaries were tested for their sexual copulation solicitation display (CSD) in response to the playbacks of different strings of song sequences from males of the same breed. In order to induce habituation, three monotonous strings were created: A.A.A.A.A.A; B.B.B.B.B.B and C.C.C.C.C.C. (repetition of the same song sequence). In order to manage disrupt of habituation by stimulus changes, four types of strings including two types of song sequences were created: B.B.B.A.A.A., A.A.A.B.B.B., C.C.C.B.B.B. and B.B.B.C.C.C. We found that a monotonous repetition of the same sequence leads to habituation when the sexual potency of the sequence is high (sequences A and B) and that song sequences may greatly differ in eliciting sexual displays (A >B>C). Subsequent stimulus change may elicit an immediate response recovery. But such a disrupt of habituation occurs only if a prefered sequence follows a non prefered one. We discuss prominent parameters that may have influenced female sensitivity and responsiveness to string organization in domesticated canaries.

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Complex Organization of the Warbling Song in the European Starling Sturnus Vulgaris

Behaviour ◽

10.1163/156853988x00322 ◽

1988 ◽

Vol 107 (3-4) ◽

pp. 138-155 ◽

Cited By ~ 66

Author(s):

P.F. Jenkins ◽

M. Adret-Hausberger

Keyword(s):

Sturnus Vulgaris ◽

European Starling ◽

Repertoire Size ◽

Sequential Organization ◽

Complex Song ◽

Complex Organization ◽

Species Specific ◽

Song Sequence

Male starlings sing two very different categories of song: whistles and warbles. The present study describes the structure and the organization of warbling song in individuals from varied geographical origins. In all cases, warbling is shown to be an extremely complex song in which there is much contrast: very different notes follow each other and are even superimposed. Higher levels of organizations are present: notes are grouped in repeating units, the motifs, each of which is sung in bouts of 1 to 12 repetitions, and finally these bouts show a clear sequential organization. A certain amount of variability occurs at each of these levels: slight variations are seen from one rendition of a given motif to the next; the number of repetitions of each motif varies from one song sequence to another and the sequential organization of bouts seems to be able to vary seasonally. All these characteristics were found in all individuals. Nevertheless, warbling appears to be an essentially individual song. Beyond two or three species-specific motifs, the others in the repertoire are individually characteristic. The beginnings and endings of the songs are clearly defined commencing usually with an individual motif whilst ending with a species-specific motif. We observed marked differences between individuals in repertoire size, extending from about 20 to more than 35 different motifs. This is the only measure of the repertoire that we have been able to define for this continuous song.

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