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Birds don’t all sing the same song. They have dialects too

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Birds don't all sing the same song. They have dialects too

He is not the real world Dr. Doolittle. He is an ecologist in Christchurch, New Zealand, who specializes in an unknown science: bird dialect.

While some birds are born knowing how to sing by default, many need to be taught how to sing by adults – just like humans. The birds can develop regional dialects, which means their song sounds a little different depending on where they live. Think of the Boston and Georgian accents, but for birds.

Just as speaking a local language can make humans more adaptable, speaking in a local bird dialect can increase the chances of birds to find a mate. And, even more horrifying, just as human dialects can sometimes disappear as the world goes global, bird dialects can be formed or disappear when cities grow.

The similarity between human language and bird song is not lost in Molles – or in fellow bird dialect experts.

“There are extraordinary parallels,” said American ornithologist Donald Kroodsma, author of “Birdsong for the Curious Naturalist: Your Guide to Listening.” “Culture, oral traditions – all the same.”

The first bird dialect expert

For centuries, bird song has inspired poets and musicians, but it wasn’t until the 1950s that scientists began to pay attention to bird dialects.

One of the pioneers in the field is a British-born behaviorist named Peter Marler, Who became interested in the subject when he paid attention to it chaffinches in England it sounds different valley to valley.
At first, he copied bird song by hand, according to his profile in the Rockefeller University publication. Then, he used a sonagram, which Kroodsma described on his website as “a musical score for birdsong”. (“You really need to see these songs to believe it, our eyes are much better than our ears,” Kroodsma said.)

These native New Zealand birds have regional dialects

Source: Laura Molles | Maps4news.com/ is owned by HERE

In the 60s and 70s, scientists put baby birds into a sound isolation room to see if they could sing their songs, according to bird expert David Luther.

The scientists found that some birds – who study their songs – could not sing at all. “They just continue like baby babble all their lives,” he said. The birds are known as “true singing birds”. In other birds, singing is innate. “When they grow up, they can only sing the perfect song without problems.”

When birds imitate adults, scientists find, they sometimes make mistakes. The error was then copied by another bird, and a local dialect flourished. That means that dialects can only exist in true singing birds because they have “learned oral traditions,” Kroodsma said.

Dialects can also be made when birds adapt to the local environment, says American ornithologist Elizabeth Derryberry. Birds that can be heard better can find a better partner, which means their song is more likely to be passed down from generation to generation.

This is related to the idea developed by Bernie Krause, founder of soundscape ecology, that animals make sounds in different tones so they can all be heard.

Some dialects change quickly – even in the breeding season. Other birds hold on to their dialect for decades. When Luther examined the San Francisco dialect of a white crowned sparrow – a common bird in North America – he discovered that some dialects have not changed at all in 40 years.

Dialect and dating (in birds)

For something that is often the result of copying errors, dialects can be very useful.

According to Molles, birds communicate for two reasons: Either they try to evict their neighbors, or they try to attract the attention of females. “Unfortunately, nothing is poetic,” he quipped.

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When it comes to defending the territory of other birds of the same species that are not local to the area, knowing the local dialect allows for more complex interactions. Copying a song note is considered aggressive for birds, so having a wider repertoire means that birds can convey their intentions without increasing interaction into fighting.

Knowing the local dialect is also useful for finding a romantic partner.

In many species, the males sing. According to Molles, females tend to prefer a familiar dialect – this shows that male birds know the local area, own territory, and not just “someone who passes by it.” Some birds are bilingual, or even trilingual – maybe because they grow around different local dialects. When they mate, they will choose to sing local dialects wherever they choose to settle, Luther said.

But not having the right dialect is not an insurmountable barrier.

Kroodsma gives the example of a prairie commander in Massachusetts, where he lives, who has returned every year for the past few years. Although the bird has a very unusual song, it attracts females and raises babies every year.

“Someone might say, ‘Well, there’s a novelty effect, a man with a very different song and all women think it’s sexy,'” he said. “But that’s just a wild guess.”

This is something researchers think about in places like New Zealand, where threatened birds are sometimes reintroduced to new areas. The researchers want to ensure that if they reintroduce birds, they will reintegrate, even if they do not have the right dialect.

A Kokako - native to New Zealand - at the Tiritiri Matangi Wildlife Reserve.

In Molles’ experience, it tends to function if a group of birds is reintroduced simultaneously, so they have a fellow bird with a strange dialect.

He was involved in reintroducing Kokako – a native blue-gray bird with a call like a violin – to the New Zealand area hundreds of kilometers away from where they were born. At first, newcomers might multiply among themselves, he said. But in the future, they might integrate. Descendants of newcomers will likely start interbreeding with descendants of native populations who grow familiar with both local and new dialects.

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“The woman is not necessarily looking for someone who fits the song sung by her father,” Molles said. “He found a match that matched the area where he wanted to settle – he wasn’t just a strange bird that might not be his.”

How humans change bird dialects

When cities around the world are locked, a series of questions arise on Derryberry.

Over the years, birds began to sing in higher tones in cities to be heard because of low traffic and construction. What will happen to the birds when the city is quiet? If it’s calmer, will a new generation of birds sing in lower tones? And next year, when it comes time to breed, will they sound like city noise again?

He was still trying to answer these questions, but Kroodsma was skeptical that a brief period of silence could be long enough to have an impact on bird dialect.

“It’s sad to hear some of that and think, We will never hear it again.”Laura Molles

Even if the death of our coronavirus hasn’t changed the bird dialect this time, it’s good to think about how we form – and destroy – the bird dialect in general. Something as small as an electric cable can suffice to break up bird populations and lead to the creation of new dialects, Kroodsma said.

In New Zealand, the land of birds only native land mammals are bats“There will be a wider range of dialects before humans arrive and reduce bird habitat,” Molles said.

Molles remembers finding historical records from the Kokako natives who are now gone.

“Some of the songs on the tape are amazing – strange metal sounds that you would never expect were made by birds,” he said.

“It’s sad to hear some of that and think, We will never hear it again.”

Design and graphics by Jason Kwok and Natalie Leung. Developed by Marco Chacón.

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Portuguese historical films will premiere on 29 December.

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Portuguese historical films will premiere on 29 December.

Method Media Bermuda will present the documentary FABRIC: Portuguese History in Bermuda on Thursday, December 29 at the Underwater Research Institute of Bermuda.

A spokesperson said: “Method Media is proud to bring Bermuda Fabric: Portugal History to Bermuda for its 5th and 6th showing at the Bermuda Underwater Observatory. In November and December 2019, Cloth: A Portuguese Story in Bermuda had four sold-out screenings. Now that Bermuda has reopened after the pandemic, it’s time to bring the film back for at least two screenings.

“There are tickets Ptix.bm For $ 20 – sessions at 15:30 and 18:00. Both screenings will be followed by a short Q&A session.

Director and producer Milton Raboso says, “FABRIC is a definitive account of the Portuguese community in Bermuda and its 151 years of history, but it also places Bermuda, Acors and Portugal in the world history and the events that have fueled those 151 years.

“It took more than 10 years to implement FABRIC. The film was supported by the Minister of Culture, the Government of the Azores and private donors.

Bermuda Media Method [MMB] Created in 2011 by producer Milton Raposo. MMB has created content for a wide range of clients: Bermuda’s new hospital renovation, reinsurance, travel campaigns, international sports and more. MMB pays special attention to artistic, cultural and historical content.

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CRISTANO RONALDO CAN MAKE UP A GIANT IN CARIOCA AND PORTUGUESE TECHNICIAN SAYS 'There will be room'

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Maestro de Braga is the first Portuguese in the National Symphony Orchestra of Cuba.

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Maestro de Braga is the first Portuguese in the National Symphony Orchestra of Cuba.

Maestro Filipe Cunha, Artistic Director of the Philharmonic Orchestra of Braga, has been invited to conduct the Cuban National Symphony Orchestra, as announced today.

According to a statement sent by O MINHO, “he will be the first Portuguese conductor to conduct this orchestra in its entire history.”

In addition to this orchestra, the maestro will also work with the Lyceo Mozarteum de la Habana Symphony Orchestra.

The concerts will take place on 4 and 12 March 2023 at the National Theater of Cuba in Havana.

In the words of the maestro, quoted in the statement, “these will be very beautiful concerts with difficult but very complex pieces” and therefore he feels “very motivated”.

From the very beginning, Rachmaninoff’s Piano Concerto No. 2 will be performed by an Italian pianist (Luigi Borzillo), whom the maestro wants to bring to Portugal later this year. In the same concert, Mendelshon’s First Symphony will be performed.

Then, at the second concert, in the company of the Mexican clarinetist Angel Zedillo, he will perform the Louis Sfora Concerto No. 2. In this concert, the maestro also conducts Tchaikovsky’s Fifth Symphony.

“This is an international recognition of my work. An invitation that I accept with humility and great responsibility. I was surprised to learn that I would be the first Portuguese member of the Cuban National Symphony Orchestra. This is a very great honor,” the maestro said in a statement.

“I take with me the name of the city of Braga and Portugal with all the responsibility that goes with it, and I hope to do a good job there, leaving a good image and putting on great concerts. These will be very special concerts because, in addition to performing pieces that I love, especially Rachmaninov and Tchaikovsky, I will be directing two wonderful soloists who are also my friends. It will be very beautiful,” concludes Filipe Cunha.

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