Academic literature on the topic 'Male breeding songs'

Singing is a key element of songbirds’ behavioral repertoire, particularly for males, which sing during the breeding season to defend resources against other males and to attract females. Different song traits may convey honest information about males’ qualities or conditions, which may be used by females to select their mates. Traits under strong sexual selection have an important component of additive genetic variation (i.e., the main genetic inheritance from parents), and so relatively high heritability; therefore, it can be expected that song traits also do. Although the act of singing is an innate behavior, and thus, genetically determined, songbirds need to learn their songs and therefore the genetic contribution to song traits may be reduced by the effect of environmental factors. We tested this hypothesis in seven song traits recorded in the long-distance migratory bird, the pied flycatcher (Ficedula hypoleuca). From a 23-year database (1992–2015), we obtained songs for 28 father–son pairs, and for each song trait we applied parent–offspring regressions to estimate heritability. The type of syllables sung are learned from tutors, and here we also determined the cultural contribution of fathers to the song repertoires of their sons, by quantifying the percentage of syllables that sons shared with their fathers, and compared this with what sons shared with other males in the population (e.g., neighbors). The heritabilities of song traits were highly variable (ranging from −0.22 to 0.56), but most of these were around zero and none of them were significant. These results indicate that the seven song traits are most likely determined by environmental factors. Sons shared more syllables with their fathers than with neighbors (21% vs. 3%), suggesting that fathers are important song tutors during the nestling period. We conclude that there is a cultural inheritance from fathers to their sons’ syllable repertoires, but there is no strong evidence for a genetic contribution of fathers to the seven song traits studied.

AbstractExperience can have both instructive and selective effects on vocal development in song birds. Learning by instruction occurs when one male imitates the song of another. Learning by selection occurs when a male chooses one or more songs to retain in his repertoire based on interaction with other individuals. These models of learning make different predictions about the degree of microgeographic variation in song present in wild populations of birds. If males are instructed by their immediate territory neighbors, then the songs of territory neighbors should be more similar than are the songs of non-neighbors. In contrast, if males select a song for retention that was learned elsewhere in the dialect, the songs of neighbors should be no more similar than are the songs of non-neighbors sampled from the same dialect. We compared the songs of males sampled in two sedentary populations and four migratory populations of four subspecies of the white-crowned sparrow, Zonotrichia leucophrys. In the two sedentary nuttalli populations, males on neighboring territories sang very similar songs, indicating that males are instructed by their territory neighbors after they disperse short distances to their breeding territories. Learning by selection during territory establishment after natal dispersal appears to predominate in the four migratory populations: the songs of territory neighbors were no more similar than were the songs of non-neighbors. We conclude that the sedentary/migratory distinction in the annual cycle determines the form of vocal learning that occurs between territory neighbors.

Abstract 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.

Males of many wood warbler (Parulinae) species use different song types in different contexts, yet the exact functions of the two main song type categories remain unclear. We studied the use of songs by both experimental (males whose mate had been removed from the territory) and control male Chestnut-sided Warblers (Dendroica pensylvanica) during the dawn hour and midmorning throughout the breeding season. Unpaired males sang more accented-ending songs and fewer unaccented-ending songs than paired males during all observation periods. Accented-ending songs appeared to be used primarily in the absence of intrasexual stimuli, and the percentage of unaccented-ending songs that was used during the nesting cycle appeared to fluctuate directly with the intensity of defense by the male of both his female and his territory. During courtship the male sang accented-ending songs on those infrequent occasions when he did sing in the immediate presence of his female, regardless of her location and the presence or absence of other males. These critical observations seem most consistent with the conclusion that the accented-ending songs are primarily intersexual. The unaccented- and accented-ending categories of song types appear to be used mainly as intra- and inter-sexual messages, respectively.

AbstractIn many tropical bird species, males and females sing together in coordinated vocal duets. Although studies of duetting present unique opportunities for understanding conflict and cooperation between the sexes, very few investigations describe the similarities and differences between male and female singing behaviors. Here, we present the first detailed account of the singing behavior of Rufous-and-white Wrens (Thryothorus rufalbus), a resident tropical duetting songbird. Male and female songs share a similar structure, yet show pronounced sex differences. Male songs have lower frequency characteristics and more repeated trill syllables, and often sound louder than female songs. Males sing more than females, and only males show elevated song output at dawn. Both males and females have song repertoires. Males have an average repertoire size of 10.8 song types, whereas females have a significantly smaller average repertoire size of 8.5 song types. Although males share proportionately more of their song types with neighbors than females do, both sexes share more song types with nearby individuals than with distant individuals. Breeding partners combine their solo songs to create duets. Duets assume a variety of different forms, ranging from simple, overlapping male and female songs to complex combinations of multiple male and female songs. Most duets (73%) are created by females responding to male song. Males respond to female-initiated duets with shorter latencies than when females respond to male-initiated duets. Each pair sings certain combinations of song types in duets more often than can be explained by random association, which demonstrates that Rufous-and-white Wrens have duet types. The most common duet type was different for each pair. Our results show that Rufous-and-white Wrens have pronounced sex differences in song structure, singing activity, repertoire size, repertoire sharing, and duetting behavior.Diferencias entre Sexos en el Canto y Comportamiento de Dueto en Thryothorus rufalbus

Many temperate zone breeding birds spend their non-breeding period in the tropics where they defend individual territories. Unlike tropical birds that use song for breeding and non-breeding territorial defense, vocal defense differs strikingly between breeding and non-breeding territories in migrants. Song, restricted to males, is used during defense of breeding territories but callnotes are used to defend non-breeding territories. To explain why callnotes and not songs predominate in the non-breeding context, we present an empirical model based upon predictions from motivational/structural rules, ranging theory and latitudinal differences in extra-pair mating systems. Due to sex role divergence during breeding that favors singing in males, but not females, females may be unable to range male song. Ranging requires a signal to be in both the sender and receiver’s repertoire to allow the distance between them to be assessed (ranged). Non-breeding territories of migrants are defended by both males and females as exclusive individual (androgynous) territories. Ranging Theory predicts callnotes, being shared by both males and females can, in turn, be ranged by both so are effective in androgynous territoriality. Where songs are used for non-breeding territorial defense both sexes sing, supporting the evolutionary significance of shared vocalizations in androgynous territorial defense.

Bird song may provide female birds with signals of male quality. To investigate this potential for sexual selection via female choice, we assessed the relationships between male song variation and male mating and reproductive success of the Savannah Sparrow (Passerculus sandwichensis (J.F. Gmelin, 1789)) over 3 years (2001–2003) in a population of Savannah Sparrows near London, Ontario, Canada. We measured song rate, as well as temporal and frequency attributes of song structure, as possible predictors of male quality, and then related these measures to attributes of male reproductive performance (mating and breeding success and territory size of males). We found significant correlations between male reproductive performance and several song features, such that the combined effects of two trill sections could potentially play an important role: males possessing such songs arrived and paired earlier and had higher fledging success. The results suggested that the trill segments of the song may signal important aspects of male quality. Possible reasons for significant roles of such songs in open-habitat birds are discussed.

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.

Song learning is hypothesized to allow social adaptation to a local song neighbourhood. Maintaining social associations is particularly important in cooperative breeders, yet vocal learning in such species has only been assessed in systems where social association was correlated with relatedness. Thus, benefits of vocal learning as a means of maintaining social associations could not be disentangled from benefits of kin recognition. We assessed genetic and cultural contributions to song in a species where social association was not strongly correlated with kinship: the cooperatively breeding, reproductively promiscuous splendid fairy-wren ( Malurus splendens ). We found that song characters of socially associated father–son pairs were more strongly correlated (and thus songs were more similar) than songs of father–son pairs with a genetic, but no social, association (i.e. cuckolding fathers). Song transmission was, therefore, vertical and cultural, with minimal signatures of kinship. Additionally, song characters were not correlated with several phenotypic indicators of male quality, supporting the idea that there may be a tradeoff between accurate copying of tutors and quality signalling via maximizing song performance, particularly when social and genetic relationships are decoupled. Our results lend support to the hypothesis that song learning facilitates the maintenance of social associations by permitting unrelated individuals to acquire similar signal phenotypes.

Birds in which both sexes produce complex songs are thought to be more common in the tropics than in temperate areas, where typically only males sing. Yet the role of phylogeny in this apparent relationship between female song and latitude has never been examined. Here, we reconstruct evolutionary changes in female song and breeding latitude in the New World blackbirds (Icteridae), a family with both temperate and tropical representatives. We provide strong evidence that members of this group have moved repeatedly from tropical to temperate breeding ranges and, furthermore, that these range shifts were associated with losses of female song more often than expected by chance. This historical perspective suggests that male-biased song production in many temperate species is the result not of sexual selection for complex song in males but of selection against such songs in females. Our results provide new insights into the differences we see today between tropical and temperate songbirds, and suggest that the role of sexual selection in the evolution of bird song might not be as simple as we think.

An undue focus on Temperate Zone oscines (songbirds or passerines) has led to a geographical bias in interpretation of song frmnction and evolution. This bias led initially to relatively simplistic theories of the ftmnction of bird song with vocalizations divided into 'songs' and 'calls'. Songs were complex, learned vocalizations, given by males in the breeding season, thnctioning in territory defence and mate attraction and stimulation. Calls, on the other hand, were simple innate vocalizations serving more immediate needs such as begging for food and raising an alarm. Female song, where it occurred, was considered an aberration. Further studies suggested that complex songs were associated with mate attraction functions while simpler songs were associated with territory defence. However it became apparent that the distinction between songs and calls was not nearly so clear-cut and the supposed connection between complexity and function in song was questioned. Moreover it was realised that female song could not be dismissed as a mere aberration. Another problem was the ftmnction of the dawn chorus, where research had failed to find a consistent, all-encompassing explanation. Since most studies had been done on Northern Hemisphere songbirds, it was becoming clear that the geographical focus needed to be broadened. The life histories of Northern Hemisphere TemperateZone songbirds are very different from those in many other regions. In contrast to the situation in this zone, maintenance of year-round territory, territory defence by both male and female, life-long social monogamy and extensive female vocalization are widespread in tropical, subtropical and Southern Hemisphere regions. Recently it has been suggested that more intensive studies of vocalizations in these regions might help clariQi some of these issues and consequently an endemic Australian passerine was chosen for the current study. The study focused on the vocalizationsof the grey butcherbird Cracticus torquatus Artamidae, which displays the life history features described above. The main study population was located in the Brisbane suburbs of Rainworth and Bardon. Additional data were gathered from other Brisbane suburbs and bushland sites within the city and at Lake Broadwater near Dalby, Queensland. Vocalizations were initially recorded electronically and analysed using Canary sound editing program. Vocalization data were supplemented using an aural recording method, which was independently checked for reliability. Behavioural data including posture during vocalizations and interactions with other birds were also gathered. Initial investigationsrevealed the existence of two main categories of vocalizations - those given by the family group during the day, all year round and those given at dawn by males during the breeding season. For the focal study populations, group vocalizations were studied throughout the year over several years, however the song given at dawn by males during the breeding season proved to be quite complex and three birds from three territories in the main study area were chosen as case studies. Recordings were made of the vocalizations of the three case study birds over three breeding seasons. Starting and fmishing times (with respect to civil twilight) were recorded in order to determine both changes in song bout duration and starting time throughout the breeding season. Additional birds from the same area, from the other Brisbane suburbs and from the bushland sites were studied to check the validity of conclusions drawn from the case studies. The results of the investigations revealed a vocalization structure that contrasted strongly with the simple picture of bird song drawn from study ofNorthernHemisphere Temperate Zone passerines. The vocalizations given during the day, often referred to as the 'song' of this species, were very different from the early dawn song given by the male during the breeding season. This latter appeared to be song sensu stricto according to the paradigms developed for Northern Hemisphere birds. The thytime vocalizations, however, fitted neither the classic definition of 'song' nor the classic definition of 'call'. This relatively long-term study revealed different starting time patterns and periodicity for thy vocalizations and male breeding season song. Day vocalizations commenced at a fairly constant time with respect to civil twilight throughoutthe year but breeding season song started progressively earlier from the beginning through to the middle of the season then progressively later till the end of the season. Relative finishing time of breeding song however remained constant so that the duration of breeding season song gradually increased then decreased paralleling the change in starting times. A consequence of the two distinct classes of vocalizations was that there were essentially two distinct 'dawn choruses'. One, consisting of group vocals, was sung all year round; the other was given by males singing 'breeding season' song. Since there was no reason the expect that a single function would necessarily be ascribed to both choruses, this raised the possibility that some of the confusion surrounding the ftinction and nature of the 'dawn chorus' originated from a failure to recognize the existence of two such choruses. Variation in time and space showed ifirther differences between the two vocalization classes. The breeding song of each male was distinctly different from that of his neighbours and there was a marked change in the repertoire of any individual from one year to the next. In marked contrast, daytime vocalization repertoires of neighbouring groups were virtually indistinguishable and changed little from year to year. These findings, together with information from recent literature, suggested that the two song classes had a different ontogeny, function and possibly evolution. It was proposed that territory declaration was the function of dawn singing by grey butcherbird family groups but that the function most consistent with adult male dawn song was attraction of females for extra-pair copulations. It was suggested that chorusing itself was to some extent an accidental by-product of the advantage to the individual or group of singing at dawn although a recently proposed function, the social dynamics function, could not be ruled out. Further differences from the Northern Hemisphere situation were detected in subsong. First, subsong was given by birds in their first year and also by adult males. The finding of subsong in adult males was not without precedent as it has been documented previously for a small number of passerines, especially those that change repertoire from year to year. Subsong in young (first year) birds, however, was unusual in that birds practised in small groups rather than in the complete isolation usually associated with subsong. Moreover they did not practise adult male song but instead practised group daytime vocalizations. It was suggested that it was important for birds to learn to sing in company for the important task of group territory defence. Further investigation of the literature and observations during the present study revealed similar vocalization classes and behaviours in other members of the Artamidae and other endemic Australasian taxa. These literature investigations also revealed that the possession two song vocalization classes was quite widespread although they tended to be restricted (but not exclusive) to males rather than found in males and females. These findings led to furtherresearch into the significanceofAustraliain the evolution of songbirds, the role of co-operative breeding in Australianpasserines, and finally to an hypothesis for a possible origin of male bird song. It is suggested that male song arose in a social environment where the male and female were in frequent vocal communication. If the tendency to seek extra-pair copulations (EPCs) and female choice had already been incorporated into the suite of passerine behaviours, it would be necessary to avoid the mate during such activities and the male would need to advertise with a signal distinct from group vocalizations. Early dawn, with poor light conditions, could be a favourable time for these activities. Thus it is proposed that the ancestral condition was with all group members singing most vocalisations, the intermediate situation was similar to that in the grey butcherbird and the 'advanced' condition was where female and other group member vocalizations (other than calls) have dropped out and only male song remains.

An undue focus on Temperate Zone oscines (songbirds or passerines) has led to a geographical bias in interpretation of song function and evolution. This bias led initially to relatively simplistic theories of the function of bird song with vocalizations divided into 'songs' and 'calls'. Songs were complex, learned vocalizations, given by males in the breeding season, functioning in territory defence and mate attraction and stimulation. Calls, on the other hand, were simple innate vocalizations serving more immediate needs such as begging for food and raising an alarm. Female song, where it occurred, was considered an aberration. Further studies suggested that complex songs were associated with mate attraction functions while simpler songs were associated with territory defence. However it became apparent that the distinction between songs and calls was not nearly so clear-cut and the supposed connection between complexity and function in song was questioned. Moreover it was realised that female song could not be dismissed as a mere aberration. Another problem was the function of the dawn chorus, where research had failed to find a consistent, all-encompassing explanation. Since most studies had been done on Northern Hemisphere songbirds, it was becoming clear that the geographical focus needed to be broadened. The life histories of Northern Hemisphere Temperate Zone songbirds are very different from those in many other regions. In contrast to the situation in this zone, maintenance of year-round territory, territory defence by both male and female, life-long social monogamy and extensive female vocalization are widespread in tropical, subtropical and Southern Hemisphere regions. Recently it has been suggested that more intensive studies of vocalizations in these regions might help clarify some of these issues and consequently an endemic Australian passerine was chosen for the current study. The study focused on the vocalizations of the grey butcherbird Cracticus torquatus Artamidae, which displays the life history features described above. The main study population was located in the Brisbane suburbs of Rainworth and Bardon. Additional data were gathered from other Brisbane suburbs and bushland sites within the city and at Lake Broadwater near Dalby, Queensland. Vocalizations were initially recorded electronically and analysed using Canary sound editing program. Vocalization data were supplemented using an aural recording method, which was independently checked for reliability. Behavioural data including posture during vocalizations and interactions with other birds were also gathered. Initial investigations revealed the existence of two main categories of vocalizations - those given by the family group during the day, all year round and those given at dawn by males during the breeding season. For the focal study populations, group vocalizations were studied throughout the year over several years, however the song given at dawn by males during the breeding season proved to be quite complex and three birds from three territories in the main study area were chosen as case studies. Recordings were made of the vocalizations of the three case study birds over three breeding seasons. Starting and finishing times (with respect to civil twilight) were recorded in order to determine both changes in song bout duration and starting time throughout the breeding season. Additional birds from the same area, from the other Brisbane suburbs and from the bushland sites were studied to check the validity of conclusions drawn from the case studies. The results of the investigations revealed a vocalization structure that contrasted strongly with the simple picture of bird song drawn from study of Northern Hemisphere Temperate Zone passerines. The vocalizations given during the day, often referred to as the 'song' of this species, were very different from the early dawn song given by the male during the breeding season. This latter appeared to be song sensu stricto according to the paradigms developed for Northern Hemisphere birds. The daytime vocalizations, however, fitted neither the classic definition of 'song' nor the classic definition of 'call'. This relatively long-term study revealed different starting time patterns and periodicity for day vocalizations and male breeding season song. Day vocalizations commenced at a fairly constant time with respect to civil twilight throughout the year but breeding season song started progressively earlier from the beginning through to the middle of the season then progressively later till the end of the season. Relative finishing time of breeding song however remained constant so that the duration of breeding season song gradually increased then decreased paralleling the change in starting times. A consequence of the two distinct classes of vocalizations was that there were essentially two distinct 'dawn choruses'. One, consisting of group vocals, was sung all year round; the other was given by males singing 'breeding season' song. Since there was no reason the expect that a single function would necessarily be ascribed to both choruses, this raised the possibility that some of the confusion surrounding the function and nature of the 'dawn chorus' originated from a failure to recognize the existence of two such choruses. Variation in time and space showed further differences between the two vocalization classes. The breeding song of each male was distinctly different from that of his neighbours and there was a marked change in the repertoire of any individual from one year to the next. In marked contrast, daytime vocalization repertoires of neighbouring groups were virtually indistinguishable and changed little from year to year. These findings, together with information from recent literature, suggested that the two song classes had a different ontogeny, function and possibly evolution. It was proposed that territory declaration was the function of dawn singing by grey butcherbird family groups but that the function most consistent with adult male dawn song was attraction of females for extra-pair copulations. It was suggested that chorusing itself was to some extent an accidental by-product of the advantage to the individual or group of singing at dawn although a recently proposed function, the social dynamics function, could not be ruled out. Further differences from the Northern Hemisphere situation were detected in subsong. First, subsong was given by birds in their first year and also by adult males. The finding of subsong in adult males was not without precedent as it has been documented previously for a small number of passerines, especially those that change repertoire from year to year. Subsong in young (first year) birds, however, was unusual in that birds practised in small groups rather than in the complete isolation usually associated with subsong. Moreover they did not practise adult male song but instead practised group daytime vocalizations. It was suggested that it was important for birds to learn to sing in company for the important task of group territory defence. Further investigation of the literature and observations during the present study revealed similar vocalization classes and behaviours in other members of the Artamidae and other endemic Australasian taxa. These literature investigations also revealed that the possession two song vocalization classes was quite widespread although they tended to be restricted (but not exclusive) to males rather than found in males and females. These findings led to further research into the significance of Australia in the evolution of songbirds, the role of co-operative breeding in Australian passerines, and finally to an hypothesis for a possible origin of male bird song. It is suggested that male song arose in a social environment where the male and female were in frequent vocal communication. If the tendency to seek extra-pair copulations (EPCs) and female choice had already been incorporated into the suite of passerine behaviours, it would be necessary to avoid the mate during such activities and the male would need to advertise with a s
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Australian School of Environmental Studies
Full Text

碩士
國立臺灣師範大學
生命科學研究所
101
Breeding biology and male song of Taiwan Whistling Thrush(Myophonus insularis) were studied at Shuding and Nangang, Taipei from 2011 to 2013. Combined data from 2006, 2008 and 2009 by previous studies, 226 nests from 36 nesting areas were identified. The clutch size was varied from 1 to 4 with size 3 most common (64.77%). The mean clutch size and brood size was 2.69±0.56 and 2.33±0.72 respectively. Clutch size was significantly higher in the middle period than that of early period. Breeding success among years(2008, 2009, 2011and 2012) were estimated by Mayfield method were 47.0%, 41.7%, 34.7% and 37.2%. Breeding success decreased through season with 43.7% in early, 35.4% in middle, and 26.11% in late period. Nest predation(63.44%) and hatching failure(21.51%) were major causes for breeding failure. Nests with easy accessibility by predators were less successful than those of safer nests. The main predator was suspected to be snakes. The laying date was negative correlated significantly with air temperature of the period between Mar.1 and Mar. 10. Also the colder the year the lower productivity were found among 3 years(2006, 2011and 2012). For 6 male songs, 4525 phrases from 213 bouts were recorded. Twenty three song types and 223 phrase types were identified. About 76.5 % bouts had only one song type. Each song type had 11.4±2.8 phrase types. Phrase types had little overlap between different song types. The mean song type of individual was 7.0±1.5, and the phrase type was 81.2±13.7. That song similarity was negative correlation with distance, showed dialect may exist in closed vicinity.

This chapter describes the author's experience while trekking up Slide Mountain with one of the leaders from the John Burroughs Natural History Society. The goal was to hear the Bicknell's Thrush sing its morning song. For a time, the bird was considered a sub-species of the Gray-cheeked Thrush, but now stands alone. Bicknell's is one of the “least known breeding birds in North America.” It is a bird that confounds researchers with its mating habits; both males and females have multiple partners, multiple paternity is common, and more than one male often feeds young at a nest site. The chapter then looks at the naturalist John Burroughs, who spent his life exploring the hills and valleys, the birds and porcupines of the woods. Through the course of twenty-three books, the Catskills are central both geographically and emotionally to Burroughs's work. The chapter also considers the author's reflections on habitat loss and destruction.

The next morning as soon as I awaked I found my eldest son sitting by my bedside, who came to encrease my joy with another turn of fortune in my favour. First having released me from the settlement that I had made the day before in his favour, he let me know that my merchant who had failed in town was arrested at Antwerp, and there had given up effects to a much greater amount than what was due to his creditors. My boy’s generosity pleased me almost as much as this unlooked for good fortune. But I had some doubts whether I ought in justice to accept his offer. While I was pondering upon this, Sir William entered the room, to whom I communicated my doubts. His opinion was, that as my son was already possessed of a very affluent fortune by his marriage, I might accept his offer without any hesitation. His business, however, was to inform me that as he had the night before sent for the licences, and expected them every hour, he hoped that I would not refuse my assistance in making all the company happy that morning. A footman entered while we were speaking, to tell us that the messenger was returned, and as I was by this time ready, I went down, where I found the whole company as merry as affluence and innocence could make them. However, as they were now preparing for a very solemn ceremony, their laughter entirely displeased me. I told them of the grave, becoming and sublime deportment they should assume upon this mystical occasion, and read them two homilies and a thesis of my own composing, in order to prepare them. Yet they still seemed perfectly refractory and ungovernable. Even as we were going along to church, to which I led the way, all gravity had quite forsaken them, and I was often tempted to turn back in indignation. In church a new dilemma arose, which promised no easy solution. This was, which couple should be married first; my son’s bride warmly insisted, that Lady Thornhill, (that was to be) should take the lead; but this the other refused with equal ardour, protesting she would not be guilty of such rudeness for the world. The argument was supported for some time between both with equal obstinacy and good breeding. But as I stood all this time with my book ready, I was at last quite tired of the contest, and shutting it, ‘I perceive,’ cried I, ‘that none of you have a mind to be married, and I think we had as good go back again; for I suppose there will be no business done here to-day’—This at once reduced them to reason. The Baronet and his Lady were first married, and then my son and his lovely partner.

Migratory seabirds are an unseen conduit between marine and terrestrial systems, carrying the nutrients they consume at sea into the forests where they breed. Acting as environmental sentinels, their health and reproductive success provide early warning signals of deteriorating marine eco-systems as the climate changes, and fish stocks decrease. Aotearoa New Zealand is the seabird capital of the world, with ~25% of all species breeding here and ~10% exclusively so. They play a critical role in maintaining healthy ecosystems, with their long-term well-being is closely interconnected with our own prospects for a sustainable future. Now predominantly restricted to off-shore islands due to predation and habitat destruction, seabirds and their familiar sounds have become less available in an age when the unprecedented global movement and planetary spread of the human population has culminated in unsustainable fishing, predators and habitat destruction. Inspiring mythology, song, poetry and stories, birds have been significant in shaping our understanding of how our natural environment has come to be known and understood. This paper speculates upon how we learn to communicate and cooperate with these precious taonga, and what might be learned from such an exchange through creative practice. Reflecting upon what birds might tell us, musician Matthew Bannister and I, a visual artist, have taken our cue from seabirds sharing our local environment on the west coast of Aotearoa - from the petrel (peera) through to the gannet (tākapu). Working on the premise that bird vocalisation is a performed negotiation that includes defence of territory and mate attraction, a bird’s call is a form of communication that effectively says “Come here” or “Go away”, which arguably is true of music – marking a social space and time to invite or repel. Rather than limiting bird calls to functionalist categories of explanation, we ask whether seabirds can communicate and exchange information about environmental changes using a malleable vocabulary, comprised of unique acoustic units arranged and re-arranged sequentially for greater communicative depth. Granting a high level of agency and creativity to birds as opposed to believing a bird only avails itself of stereotyped ‘speech’ to survive an accident-rich environment, places greater importance on responses that are improvised directly upon environmental stimuli as irritant rather than as a signal. Matthew explores bird calls via musique concrète, sampling recordings of seabirds to abstract the musical values of bird song conventions – a human response to the ‘other’ in jointly formed compositions, reflecting a living evolving relationship between composer and bird. In further developing our research into a multimedia artwork, I shall extend a technique used for electroacoustic composition (granular synthesis) to video portraits of composer/performer and bird. In applying granular synthesis techniques to video, tiny units of image and sampled sound are reassembled within the frames. Through the mixing of existing synthesised sequences, performer/composer and bird become active participants in the making and remaking of a shared environment, articulating the limits of space/territory to find new ways to be heard within it.