The Pantomimic Voice

Ovid’s Metamorphoses, as scholars have demonstrated, can be read in dialogue with Roman pantomime dance, and the tale of Echo and Narcissus is one of its most ‘pantomimic’ episodes. While others have focused on the figure of Narcissus in this vein, I turn instead to Echo, whose vocal mimicry can be seen as a mirror of the pantomime’s art, and whose juxtaposition with Narcissus seems emblematic of the body-voice relationship in pantomime. Echo’s desire for Narcissus engages with an existing lyric tradition of depicting the relationship between singing voice and dancing body in erotic terms. In such situations, the desire is fulfilled if the performers are both singing and dancing, uniting body and voice in performance. The thwarted union of Echo and Narcissus, however, embodies instead the dynamics of pantomime: the subordination or absence of the voice in favor of the body, and the connection created between dancer and audience.

Imperfect mimicry of host begging calls by a brood parasitic cuckoo: a cue for nestling rejection by hosts?

Coevolutionary interactions between avian brood parasites and their hosts often lead to the evolution of discrimination and rejection of parasite eggs or chicks by hosts based on visual cues, and the evolution of visual mimicry of host eggs or chicks by brood parasites. Hosts may also base rejection of brood parasite nestlings on vocal cues, which would in turn select for mimicry of host begging calls in brood parasite chicks. In cuckoos that exploit multiple hosts with different begging calls, call structure may be plastic, allowing nestlings to modify their calls to match those of their various hosts, or fixed, in which case we would predict either imperfect mimicry or divergence of the species into host-specific lineages. In our study of the little bronze-cuckoo Chalcites minutillus and its primary host, the large-billed gerygone Gerygone magnirostris, we tested whether: (a) hosts use nestling vocalisations as a cue to discriminate cuckoo chicks; (b) cuckoo nestlings mimic the host begging calls throughout the nestling period; and (c) the cuckoo begging calls are plastic, thereby facilitating mimicry of the calls of different hosts. We found that the begging calls of little bronze-cuckoos are most similar to their gerygone hosts shortly after hatching (when rejection by hosts typically occurs) but become less similar as cuckoo chicks get older. Begging call structure may be used as a cue for rejection by hosts, and these results are consistent with gerygone defences selecting for age-specific vocal mimicry in cuckoo chicks. We found no evidence that little bronze-cuckoo begging calls were plastic.

“Mike Fright”

This chapter examines the racialization of sound and language during the transitional period in Hollywood. It argues that the studios’ interest in African American representation in the talkies participated in the ongoing construction in US popular culture of the “Black voice” and of ethnically marked ways of speaking as signifiers of substance and vitality. Tracing the genealogy of this “thrown” voice back through white radio comedians’ vocal mimicry, dialect fiction written by white authors, and blackface minstrelsy, the chapter demonstrates that the talkies were a technological medium of racial ventriloquism. Examining the popular RKO feature Check and Double Check (1930)—a complex product both of radio minstrelsy and the early sound era “vogue” for African American musical performance—the chapter centers on a highly revealing gesture of counter-ventriloquism by the members of the Duke Ellington Orchestra, who refuse to adopt the thrown “Black voice” scripted for them, appropriating white singers’ voices instead.

Octave equivalence perception is not linked to vocal mimicry: budgerigars fail standardized operant tests for octave equivalence

Octave equivalence describes the perceived similarity of notes separated by an octave or a doubling in frequency. In humans, octave equivalence perception is used in vocal learning, enabling young children to approximate adult sounds where the pitch lies outside of their vocal range. This makes sense because the octave is also the first harmonic of any tonal sound including the human voice. We hypothesized that non-human animals may also need octave equivalence perception in vocal mimicry, the copying of other species or environmental sounds, to approximate sounds where the pitch lies outside their vocal range. Thus, in the current study, we tested budgerigars (Melopsittacus undulatus), a vocal mimicking species, for octave equivalence perception. Budgerigars were trained and tested in a go/no-go operant task previously verified in humans. Budgerigars did not show evidence of octave equivalence perception. This result suggests that vocal-mimicking does not necessarily facilitate or presuppose octave equivalence perception.

Imitation of novel conspecific and human speech sounds in the killer whale ( Orcinus orca )

Vocal imitation is a hallmark of human spoken language, which, along with other advanced cognitive skills, has fuelled the evolution of human culture. Comparative evidence has revealed that although the ability to copy sounds from conspecifics is mostly uniquely human among primates, a few distantly related taxa of birds and mammals have also independently evolved this capacity. Remarkably, field observations of killer whales have documented the existence of group-differentiated vocal dialects that are often referred to as traditions or cultures and are hypothesized to be acquired non-genetically. Here we use a do-as-I-do paradigm to study the abilities of a killer whale to imitate novel sounds uttered by conspecific (vocal imitative learning) and human models (vocal mimicry). We found that the subject made recognizable copies of all familiar and novel conspecific and human sounds tested and did so relatively quickly (most during the first 10 trials and three in the first attempt). Our results lend support to the hypothesis that the vocal variants observed in natural populations of this species can be socially learned by imitation. The capacity for vocal imitation shown in this study may scaffold the natural vocal traditions of killer whales in the wild.

Jack of All Calls and Master of Few: Vocal Mimicry in the Tawny Lark (Galerida Deva)

Despite its prevalence across bird taxa, avian vocal mimicry remains a poorly studied field of animal behaviour. In order to advance our understanding of the function of avian vocal mimicry, the field requires that the range of vocal mimicry in birds is described. The Tawny Lark (or Sykes's Lark, Galerida deva) is endemic to central and western India. Recent work on other Galerida larks has found that the mimetic vocalisations match the biodiversity of their acoustic environment, thereby conferring a significant novel function in study of individual mimetic variation linked to biodiversity. Here, we provide a detailed account of the variety of mimetic sounds produced by the Tawny Lark. We also describe acoustic and peer-based analyses that gauge the accuracy of the mimicry. By providing a detailed description of mimicry, we provide a basis for future study of the function of mimicry in this species.