Male white-handed gibbons flexibly time duet contributions

Human musical capacity and products should have been induced by the hominin-specific combination of several biosocial features: A three-phase scheme on socio-ecological, cognitive, and cultural evolution

Various selection pressures have shaped human uniqueness, for instance, music. When and why did musical universality and diversity emerge? Our hypothesis is that "music" initially originated from manipulative calls with limited musical elements. Thereafter, vocalizations became more complex and flexible along with a greater degree of social learning. Finally, constructed musical instruments and the language faculty resulted in diverse and context-specific music. Music precursors correspond to vocal communication among nonhuman primates, songbirds, and cetaceans. To place this scenario in hominin history, a three-phase scheme for music evolution is presented herein. We emphasize (1) the evolution of sociality and life history in australopithecines, (2) the evolution of cognitive and learning abilities in early/middle Homo, and (3) cultural evolution, primarily in Homo sapiens. Human musical capacity and products should be due to the hominin-specific combination of several biosocial features, including bipedalism, stable pair bonding, alloparenting, expanded brain size, and sexual selection.

Isochronous rhythms: Facilitating song coordination across taxa?

The biological expression of isochronous rhythms - rhythms like those produced by a metronome - was once thought to be unique to humans. A new study reports that faster and more isochronous rhythms lead to more successful duets in singing gibbons: isochronous rhythms might be an important component of song coordination across taxa.

Small apes adjust rhythms to facilitate song coordination

Song coordination is a universal characteristic of human music. Many animals also produce well-coordinated duets or choruses that resemble human music. However, the mechanism and evolution of song coordination have only recently been studied in animals. Here, we studied the mechanism of song coordination in three closely related species of wild Nomascus gibbons that live in polygynous groups. In each species, song bouts were dominated by male solo sequences (referred to hereafter as male sequence), and females contributed stereotyped great calls to coordinate with males. Considering the function of rhythm in facilitating song coordination in human music and animal vocalizations, we predicted that adult males adjust their song rhythm to facilitate song coordination with females. In support of this prediction, we found that adult males produced significantly more isochronous rhythms with a faster tempo in male sequences that were followed by successful female great calls (a complete sequence with "introductory" and "wa" notes). The difference in isochrony and tempos between successful great call sequences and male sequences was smaller in N. concolor compared with the other two species, which may make it difficult for females to predict a male's precise temporal pattern. Consequently, adult females of N. concolor produced more failed great call (an incomplete sequence with only introductory notes) sequences. We propose that the high degree of rhythm change functions as an unambiguous signal that can be easily perceived by receivers. In this regard, gibbon vocalizations offer an instructive model to understand the origins and evolution of human music.

"The song remains the same": not really! Vocal flexibility in the song of the indris

In studying communicative signals, we can think of flexibility as a necessary correlate of creativity. Flexibility enables animals to find practical solutions and appropriate behaviors in mutable situations. In this study, we aimed to quantify the degree of flexibility in the songs of indris (Indri indri), the only singing lemur, using three different metrics: Jaro Distance, normalized diversity, and entropy. We hypothesized that the degree and the co-variation of the flexibility of indris singing together would vary according to their status and sex. We found that dominant females were more flexible than dominant males when concatenating elements into strings (element concatenation). The number of different elements in a song contribution normalized by the contribution length (contribution diversity) of dominant individuals positively co-varied for seven duetting pairs. Non-dominant individuals were more variable in element concatenation than dominant individuals, and they were more diverse in phrase type than dominant females. Independently from sex and status, individual contributions did not differ in entropy (a measure of the predictability of contributions). These results corroborate previous findings regarding the dimorphism by sex and by status of individual contributions to songs. Thus, they shed light on the presence and expression of flexibility in the behavior of a non-human primate species. Indeed, they potentially show an effect of social features in shaping vocal flexibility, which underlies many communication systems, including human language. We speculate that this degree of flexibility may account for creativity.

Male-male relationships in chimpanzees and the evolution of human pair bonds

The evolution of monogamy has been a central question in biological anthropology. An important avenue of research has been comparisons across "socially monogamous" mammals, but such comparisons are inappropriate for understanding human behavior because humans are not "pair living" and are only sometimes "monogamous." It is the "pair bond" between reproductive partners that is characteristic of humans and has been considered unique to our lineage. I argue that pair bonds have been overlooked in one of our closest living relatives, chimpanzees. These pair bonds are not between mates but between male "friends" who exhibit enduring and emotional social bonds. The presence of such bonds in male-male chimpanzees raises the possibility that pair bonds emerged earlier in our evolutionary history. I suggest pair bonds first arose as "friendships" and only later, in the human lineage, were present between mates. The mechanisms for these bonds were co-opted for male-female bonds in humans.

Isochrony and rhythmic interaction in ape duetting

How did rhythm originate in humans, and other species? One cross-cultural universal, frequently found in human music, is isochrony: when note onsets repeat regularly like the ticking of a clock. Another universal consists in synchrony (e.g. when individuals coordinate their notes so that they are sung at the same time). An approach to biomusicology focuses on similarities and differences across species, trying to build phylogenies of musical traits. Here we test for the presence of, and a link between, isochrony and synchrony in a non-human animal. We focus on the songs of one of the few singing primates, the lar gibbon (Hylobates lar), extracting temporal features from their solo songs and duets. We show that another ape exhibits one rhythmic feature at the core of human musicality: isochrony. We show that an enhanced call rate overall boosts isochrony, suggesting that respiratory physiological constraints play a role in determining the song's rhythmic structure. However, call rate alone cannot explain the flexible isochrony we witness. Isochrony is plastic and modulated depending on the context of emission: gibbons are more isochronous when duetting than singing solo. We present evidence for rhythmic interaction: we find statistical causality between one individual's note onsets and the co-singer's onsets, and a higher than chance degree of synchrony in the duets. Finally, we find a sex-specific trade-off between individual isochrony and synchrony. Gibbon's plasticity for isochrony and rhythmic overlap may suggest a potential shared selective pressure for interactive vocal displays in singing primates. This pressure may have convergently shaped human and gibbon musicality while acting on a common neural primate substrate. Beyond humans, singing primates are promising models to understand how music and, specifically, a sense of rhythm originated in the primate phylogeny.

Perspectives on Antiphonal Calling, Duetting and Counter-Singing in Non-primate Mammals: An Overview With Notes on the Coordinated Vocalizations of Bamboo Rats (Dactylomys spp., Rodentia: Echimyidae)

Temporally coordinated interactive vocalizations are important means of communication between individuals in various animal taxa. In mammals, interactive calling and singing can be highly synchronized to create either overlapping or antiphonal duets while in others, competitors antagonistically vocalize, engaging in counter-singing. Among non-primate mammals these vocalizations are considered rare and poorly understood. We provide an overview of antiphonal calling, duetting and counter-singing in non-primate mammals. Many of these coordinated vocalizations play a role in social interactions and allow mammals to convey information to other members of the social unit in visually inaccessible environments. South American Bamboo rats Dactylomys spp. are arboreal bamboo specialists found in dense bamboo thickets in Bolivia, Peru, Ecuador, Brazil and Colombia. These nocturnal rodents are rarely seen but can be easily heard because of their loud and distinctive staccato vocalizations. We provide some evidence that Bamboo rats engage in duetting, and as such they provide another case of a mammalian species, in which to investigate temporally coordinated interactive singing. We urge researchers to work toward common definitions of temporally coordinated vocalizations and to search for more mammals that utilize such vocalizations.

Developmental Plasticity in Primate Coordinated Song: Parallels and Divergences With Duetting Songbirds

Homeothermic animals (birds and mammals) are prime model systems for investigating the developmental plasticity and neural mechanisms of vocal duetting, a cooperative acoustic signal that prevails in family-living and pair-bonded species including humans. This review focuses on the nature of this trait and its nurturing during ontogeny and extending into adulthood. I begin by outlining the underpinning concepts of duet codes and pair-specific answering rules as used by birds to develop their learned coordinated song, driven by a complex interaction between self-generated and socially mediated auditory feedback. The more tractable avian model of duetting helps identify research gaps in singing primates that also use duetting as a type of intraspecific vocal interaction. Nevertheless, it has become clear that primate coordinated song—whether overlapping or antiphonal—is subject to some degree of vocal flexibility. This is reflected in the ability of lesser apes, titi monkeys, tarsiers, and lemurs to adjust the structure and timing of their calls through (1) social influence, (2) coordinated duetting both before and after mating, (3) the repair of vocal mistakes, (4) the production of heterosexual song early in life, (5) vocal accommodation in call rhythm, (6) conditioning, and (7) innovation. Furthermore, experimental work on the neural underpinnings of avian and mammalian antiphonal duets point to a hierarchical (cortico-subcortical) control mechanism that regulates, via inhibition, the temporal segregation of rapid vocal exchanges. I discuss some weaknesses in this growing field of research and highlight prospective avenues for future investigation.

Moderate evidence for heritability in the duet contributions of a South American primate

Acoustic signals are ubiquitous across mammalian taxa. They serve a myriad of functions related to the formation and maintenance of social bonds and can provide conspecifics information about caller condition, motivation and identity. Disentangling the relative importance of evolutionary mechanisms that shape vocal variation is difficult, and little is known about heritability of mammalian vocalizations. Duetting--coordinated vocalizations within male and female pairs--arose independently at least four times across the Primate Order. Primate duets contain individual- or pair-level signatures, but the mechanisms that shape this variation remain unclear. Here, we test for evidence of heritability in two call types (pulses and chirps) from the duets of captive coppery titi monkeys (Plecturocebus cupreus). We extracted four features--note rate, duration, minimum and maximum fundamental frequency--from spectrograms of pulses and chirps, and estimated heritability of the features. We also tested whether features varied with sex or body weight. We found evidence for moderate heritability in one of the features examined (chirp note rate), whereas inter-individual variance was the most important source of variance for the rest of the features. We did not find evidence for sex differences in any of the features, but we did find that body weight and fundamental frequency of chirp elements covaried. Kin recognition has been invoked as a possible explanation for heritability or kin signatures in mammalian vocalizations. Although the function of primate duets remains a topic of debate, the presence of moderate heritability in titi monkey chirp elements indicates duets may serve a kin recognition function.

Adult male-female social bond advertising: The primary function of coordinated singing intensity in a small ape

Adult male and female coordinated singing occur in diverse animal taxa. Adult male-female social bond advertising and strengthening have been proposed as two important functional hypotheses of coordinated singing. Here we studied these two functions in four groups of cao vit gibbon (Nomascus nasutus), a small ape that lives in polygynous family groups and adult members coordinated their sex-specific songs to produce complex duets or trios (three members sing together), using 6-year field behavioral data. In this study, we used the number of successful great call sequences per bout or per minute, and latency period from start of the adult male call to the first successful great call sequence to represent singing intensity. We used the proportion of proximity, behavioral synchronization, and grooming between adult male and female to represent bond strength. We used linear mixed-effects model to investigate the correlation between singing intensity and adult male-female social bond strength. We found a negative correlation between all three bond strength indicators and female latency period (N = 209), and a positive correlation between the number of successful great call sequences per bout (N = 253) and per minute (N = 254) and proximity. We used paired Wilcoxon signed-rank test to investigate if adult gibbons increase bond strength after singing. We found proximity (hourly level: N = 45; daily level: N = 54), behavioral synchronization (hourly level: N = 57; daily level: N = 49), and grooming (daily level: N = 34) in most of the groups did not increase significantly after singing in an hourly or daily level. Together, these results indicate that cao vit gibbon coordinated singing serves primarily in adult male-female social bond advertising and distinct singing intensity indicators advertise different information on adult male-female social bond strength.

Born to sing! Song development in a singing primate

In animal vocal communication, the development of adult-like vocalization is fundamental to interact appropriately with conspecifics. However, the factors that guide ontogenetic changes in the acoustic features remain poorly understood. In contrast with a historical view of nonhuman primate vocal production as substantially innate, recent research suggests that inheritance and physiological modification can only explain some of the developmental changes in call structure during growth. A particular case of acoustic communication is the indris' singing behavior, a peculiar case among Strepsirrhine primates. Thanks to a decade of intense data collection, this work provides the first long-term quantitative analysis on song development in a singing primate. To understand the ontogeny of such a complex vocal output, we investigated juvenile and sub-adult indris' vocal behavior, and we found that young individuals started participating in the chorus years earlier than previously reported. Our results indicated that spectro-temporal song parameters underwent essential changes during growth. In particular, the age and sex of the emitter influenced the indris' vocal activity. We found that frequency parameters showed consistent changes across the sexes, but the temporal features showed different developmental trajectories for males and females. Given the low level of morphological sexual dimorphism and the marked differences in vocal behavior, we hypothesize that factors like social influences and auditory feedback may affect songs' features, resulting in high vocal flexibility in juvenile indris. This trait may be pivotal in a species that engages in choruses with rapid vocal turn-taking.

Cockatiels sing human music in synchrony with a playback of the melody

It is known among aviculturists that cockatiels imitate human music with their whistle-like vocal sounds. The present study examined whether cockatiels are also able to sing “in unison”, or, line up their vocalizations with a musical melody so that they occur at the same time. Three hand-raised cockatiels were exposed to a musical melody of human whistling produced by an experimenter. All the birds learned to sing the melody. Then, two out of these three birds spontaneously joined in singing during an ongoing melody, so that the singing by the bird and the whistling by the human were nearly perfectly synchronous. Further experiments revealed that the birds actively adjusted their vocal timing to playback of a recording of the same melody. This means cockatiels have a remarkable ability for flexible vocal control similar to what is seen in human singing. The proximate/ultimate factors for this behavior and implications for musicality in humans are discussed.

Adherence to Menzerath's Law is the exception (not the rule) in three duetting primate species

Across diverse systems including language, music and genomes, there is a tendency for longer sequences to contain shorter constituents; this phenomenon is known as Menzerath's Law. Whether Menzerath's Law is a universal in biological systems, is the result of compression (wherein shortest possible strings represent the maximum amount of information) or emerges from an inevitable relationship between sequence and constituent length remains a topic of debate. In non-human primates, the vocalizations of geladas, male gibbons and chimpanzees exhibit patterns consistent with Menzerath's Law. Here, we use existing datasets of three duetting primate species (tarsiers, titi monkeys and gibbons) to examine the wide-scale applicability of Menzerath's Law. Primate duets provide a useful comparative model to test for the broad-scale applicability of Menzerath's Law, as they evolved independently under presumably similar selection pressures and are emitted under the same context(s) across taxa. Only four out of the eight call types we examined were consistent with Menzerath's Law. Two of these call types exhibited a negative relationship between the position of the note in the call and note duration, indicating that adherence to Menzerath's Law in these call types may be related to breathing constraints. Exceptions to Menzerath's Law occur when notes are relatively homogeneous, or when species-specific call structure leads to a deterministic decrease in note duration. We show that adherence to Menzerath's Law is the exception rather than the rule in duetting primates. It is possible that selection pressures for long-range signals that can travel effectively over large distances was stronger than that of compression in primate duets. Future studies investigating adherence to Menzerath's Law across the vocal repertoires of these species will help us better elucidate the pressures that shape both short- and long-distance acoustic signals.

White-handed gibbons discriminate context-specific song compositions

White-handed gibbons produce loud and acoustically complex songs when interacting with their neighbours or when encountering predators. In both contexts, songs are assembled from a small number of units although their composition differs in context-specific ways. Here, we investigated whether wild gibbons could infer the ‘meaning’ when hearing exemplars recorded in both contexts (i.e. ‘duet songs’ vs. ‘predator songs’). We carried out a playback experiment by which we simulated the presence of a neighbouring group producing either its duet or a predator song in order to compare subjects’ vocal and locomotor responses. When hearing a recording of a duet song, subjects reliably responded with their own duet song, which sometimes elicited further duet songs in adjacent groups. When hearing a recording of a predator song, however, subjects typically remained silent, apart from one of six groups which replied with its own predator song. Moreover, in two of six trials, playbacks of predator songs elicited predator song replies in non-adjacent groups. Finally, all groups showed strong anti-predator behaviour to predator songs but never to duet songs. We concluded that white-handed gibbons discriminated between the two song types and were able to infer meaning from them. We discuss the implications of these findings in light of the current debate on the evolutionary origins of syntax.

Brevity is not a universal in animal communication: evidence for compression depends on the unit of analysis in small ape vocalizations

Evidence for compression, or minimization of code length, has been found across biological systems from genomes to human language and music. Two linguistic laws-Menzerath's Law (which states that longer sequences consist of shorter constituents) and Zipf's Law of abbreviation (a negative relationship between signal length and frequency of use)-are predictions of compression. It has been proposed that compression is a universal in animal communication, but there have been mixed results, particularly in reference to Zipf's Law of abbreviation. Like songbirds, male gibbons (Hylobates muelleri) engage in long solo bouts with unique combinations of notes which combine into phrases. We found strong support for Menzerath's Law as the longer a phrase, the shorter the notes. To identify phrase types, we used state-of-the-art affinity propagation clustering, and were able to predict phrase types using support vector machines with a mean accuracy of 74%. Based on unsupervised phrase type classification, we did not find support for Zipf's Law of abbreviation. Our results indicate that adherence to linguistic laws in male gibbon solos depends on the unit of analysis. We conclude that principles of compression are applicable outside of human language, but may act differently across levels of organization in biological systems.

Vocal individuality and rhythm in male and female duet contributions of a nonhuman primate

Duetting, or the stereotypical, repeated and often coordinated vocalizations between 2 individuals arose independently multiple times in the Order Primates. Across primate species, there exists substantial variation in terms of timing, degree of overlap, and sex-specificity of duet contributions. There is increasing evidence that primates can modify the timing of their duet contributions relative to their partner, and this vocal flexibility may have been an important precursor to the evolution of human language. Here, we present the results of a fine-scale analysis of Gursky's spectral tarsier Tarsius spectrumgurskyae duet phrases recorded in North Sulawesi, Indonesia. Specifically, we aimed to investigate individual-level variation in the female and male contributions to the duet, quantify individual- and pair-level differences in duet timing, and measure temporal precision of duetting individuals relative to their partner. We were able to classify female duet phrases to the correct individual with an 80% accuracy using support vector machines, whereas our classification accuracy for males was lower at 64%. Females were more variable than males in terms of timing between notes. All tarsier phrases exhibited some degree of overlap between callers, and tarsiers exhibited high temporal precision in their note output relative to their partners. We provide evidence that duetting tarsier individuals can modify their note output relative to their duetting partner, and these results support the idea that flexibility in vocal exchanges-a precursor to human language-evolved early in the primate lineage and long before the emergence of modern humans.

Interactive rhythms across species: the evolutionary biology of animal chorusing and turn-taking

The study of human language is progressively moving toward comparative and interactive frameworks, extending the concept of turn-taking to animal communication. While such an endeavor will help us understand the interactive origins of language, any theoretical account for cross-species turn-taking should consider three key points. First, animal turn-taking must incorporate biological studies on animal chorusing, namely how different species coordinate their signals over time. Second, while concepts employed in human communication and turn-taking, such as intentionality, are still debated in animal behavior, lower level mechanisms with clear neurobiological bases can explain much of animal interactive behavior. Third, social behavior, interactivity, and cooperation can be orthogonal, and the alternation of animal signals need not be cooperative. Considering turn-taking a subset of chorusing in the rhythmic dimension may avoid overinterpretation and enhance the comparability of future empirical work.

Female indris determine the rhythmic structure of the song and sustain a higher cost when the chorus size increases

Among the behavioral traits shared by some nonhuman primate species and humans there is singing. Unfortunately, our understanding of animals’ rhythmic abilities is still in its infancy. Indris are the only lemurs who sing and live in monogamous pairs, usually forming a group with their offspring. All adult members of a group usually participate in choruses that are emitted regularly and play a role in advertising territorial occupancy and intergroup spacing. Males and females emit phrases that have similar frequency ranges but may differ in their temporal structure. We examined whether the individuals’ contribution to the song may change according to chorus size, the total duration of the song or the duration of the individual contribution using the inter-onset intervals within a phrase and between phrases. We found that the rhythmic structure of indri’s songs depends on factors that are different for males and females. We showed that females have significantly higher variation in the rhythm of their contribution to the song and that, changes according to chorus size. Our findings indicate that female indris sustain a higher cost of singing than males when the number of singers increases. These results suggest that cross-species investigations will be crucial to understanding the evolutionary frame in which such sexually dimorphic traits occurred.

An analysis of white-handed gibbon male song reveals speech-like phrases

OBJECTIVES

Our goal was to document song phrases of the white-handed gibbon (Hylobates lar), an Asian ape that produces elaborate songs, often in well-coordinated male/female duets. We focused on the male coda, which is produced during vocal turn-taking with one's mate, and particularly its phrases containing rapid spectral and temporal variation, to investigate if modulation rates resemble those of lip-smacking in other nonhuman primates and human speech rhythm.

MATERIALS AND METHODS

We produced recordings from a large population of wild gibbons. Using terminology consistent with that used to describe vocalizations in other singing species, we analyzed coda phrases, overall coda properties, coda distinctiveness across individuals, and flexibility of phrase production within song bouts.

RESULTS

Our song phrase-level analysis showed that male codas differed between individuals and increase in complexity within song bouts by the addition of the only two male-specific phrases of the species' repertoire. These phrases differ from all others of the species and from vocalizations typical of the larger, nonhuman great apes, in that they contain rapid within-phrase modulation. Their modulation rates (6.82 and 7.34 Hz) are similar to that of lip-smacking in other nonhuman primates and speech in humans and, like human speech, are produced exclusively during exhalation. One phrase type (trills) contains multiple notes per exhalation, another characteristic similar to speech but not most primate vocalizations.

DISCUSSION

Our data highlight the complexity and flexibility of gibbon song, and show that particular phrase features likely arose from sexual selection pressures and possess similarities to human speech rhythm.