A study of vocal nonlinearities in humpback whale songs: from production mechanisms to acoustic analysis

BASSA: New software tool reveals hidden details in visualisation of low-frequency animal sounds

The study of animal sounds in biology and ecology relies heavily upon time-frequency (TF) visualisation, most commonly using the short-time Fourier transform (STFT) spectrogram. This method, however, has inherent bias towards either temporal or spectral details that can lead to misinterpretation of complex animal sounds. An ideal TF visualisation should accurately convey the structure of the sound in terms of both frequency and time, however, the STFT often cannot meet this requirement. We evaluate the accuracy of four TF visualisation methods (superlet transform [SLT], continuous wavelet transform [CWT] and two STFTs) using a synthetic test signal. We then apply these methods to visualise sounds of the Chagos blue whale, Asian elephant, southern cassowary, eastern whipbird, mulloway fish and the American crocodile. We show that the SLT visualises the test signal with 18.48%-28.08% less error than the other methods. A comparison between our visualisations of animal sounds and their literature descriptions indicates that the STFT's bias may have caused misinterpretations in describing pygmy blue whale songs and elephant rumbles. We suggest that use of the SLT to visualise low-frequency animal sounds may prevent such misinterpretations. Finally, we employ the SLT to develop 'BASSA', an open-source, GUI software application that offers a no-code, user-friendly tool for analysing short-duration recordings of low-frequency animal sounds for the Windows platform. The SLT visualises low-frequency animal sounds with improved accuracy, in a user-friendly format, minimising the risk of misinterpretation while requiring less technical expertise than the STFT. Using this method could propel advances in acoustics-driven studies of animal communication, vocal production methods, phonation and species identification.

Evolutionary novelties underlie sound production in baleen whales

Baleen whales (mysticetes) use vocalizations to mediate their complex social and reproductive behaviours in vast, opaque marine environments1. Adapting to an obligate aquatic lifestyle demanded fundamental physiological changes to efficiently produce sound, including laryngeal specializations2-4. Whereas toothed whales (odontocetes) evolved a nasal vocal organ5, mysticetes have been thought to use the larynx for sound production1,6-8. However, there has been no direct demonstration that the mysticete larynx can phonate, or if it does, how it produces the great diversity of mysticete sounds9. Here we combine experiments on the excised larynx of three mysticete species with detailed anatomy and computational models to show that mysticetes evolved unique laryngeal structures for sound production. These structures allow some of the largest animals that ever lived to efficiently produce frequency-modulated, low-frequency calls. Furthermore, we show that this phonation mechanism is likely to be ancestral to all mysticetes and shares its fundamental physical basis with most terrestrial mammals, including humans10, birds11, and their closest relatives, odontocetes5. However, these laryngeal structures set insurmountable physiological limits to the frequency range and depth of their vocalizations, preventing them from escaping anthropogenic vessel noise12,13 and communicating at great depths14, thereby greatly reducing their active communication range.

Singing more, singing harsher: occurrence of nonlinear phenomena in a primate' song

Nonlinear phenomena (NLP) in animal vocalizations arise from irregularities in the oscillation of the vocal folds. Various non-mutually exclusive hypotheses have been put forward to explain the occurrence of NLP, from adaptive to physiological ones. Non-human primates often display NLP in their vocalizations, yet the communicative role of these features, if any, is still unclear. We here investigate the occurrence of NLP in the song of a singing primate, the indri (Indri indri), testing for the effect of sex, age, season, and duration of the vocal display on their emission. Our results show that NLP occurrence in indri depends on phonation, i.e., the cumulative duration of all the units emitted by an individual, and that NLP have higher probability to be emitted in the later stages of the song, probably due to the fatigue indris may experience while singing. Furthermore, NLP happen earlier in the vocal display of adult females than in that of the adult males, and this is probably due to the fact that fatigue occurs earlier in the former because of a greater contribution within the song. Our findings suggest, therefore, that indris may be subjected to physiological constraints during the singing process which may impair the production of harmonic sounds. However, indris may still benefit from emitting NLP by strengthening the loudness of their signals for better advertising their presence to the neighboring conspecific groups.

Nonlinear features in whistles produced by the short-beaked common dolphin (Delphinus delphis) off southeastern Brazil

Animal vocalizations have nonlinear characteristics responsible for features such as subharmonics, frequency jumps, biphonation, and deterministic chaos. This study describes the whistle repertoire of a short-beaked common dolphin (Delphinus delphis) group at Brazilian coast and quantifies the nonlinear features of these whistles. Dolphins were recorded for a total of 67 min around Cabo Frio, Brazil. We identify 10 basic categories of whistle, with 75 different types, classified according to their contour shape. Most (45) of these 75 types had not been reported previously for the species. The duration of the whistles ranged from 0.04 to 3.67 s, with frequencies of 3.05-29.75 kHz. Overall, the whistle repertoire presented here has one of the widest frequency ranges and greatest level of frequency modulation recorded in any study of D. delphis. All the nonlinear features sought during the study were confirmed, with at least one feature occurring in 38.4% of the whistles. The frequency jump was the most common feature (29.75% of the whistles) and the nonlinear time series analyses confirmed the deterministic chaos in the chaotic-like segments. These results indicate that nonlinearities are a relevant characteristic of these whistles, and that are important in acoustic communication.

Female large odorous frogs (Odorrana graminea) prefer males with higher nonlinear vocal components

In anurans, the complexity of courtship calls may affect female mate choice. The current study suggests that nonlinear phenomena (NLP) components can contribute to increasing complexity in courtship calls and attracting female attention. The results of a recent study showed that calls of large odorous frog (Odorrana graminea) contained NLP components. However, whether the nonlinear components of courtship calls in O. graminea improve male attractiveness remains unknown. We hypothesized that female O. graminea would prefer males producing calls with a higher proportion of NLP components (P-NLP-C). To test this hypothesis, we recorded the advertisement calls of 28 males and confirmed that the P-NLP-C was significantly positively related to body size. We also measured the body size of natural amplectant males and non-amplectant males in the field and found that amplectant males had larger body sizes than non-amplectant males, and the results of two-choice amplexus experiments similarly revealed a female preference for males with larger body sizes. Additionally, phonotaxis experiments also revealed that females preferred male calls with a high P-NLP-C. The results suggest that a higher P-NLP-C in calls can enhance male attractiveness, and the P-NLP-C may provide key information about male body conditions for female O. graminea. Our study provides a new insight for better understanding the role of NLP in anuran mate selection.

All units are equal in humpback whale songs, but some are more equal than others

Flexible production and perception of vocalizations is linked to an impressive array of cognitive capacities including language acquisition by humans, song learning by birds, biosonar in bats, and vocal imitation by cetaceans. Here, we characterize a portion of the repertoire of one of the most impressive vocalizers in nature: the humpback whale. Qualitative and quantitative analyses of sounds (units) produced by humpback whales revealed that singers gradually morphed streams of units along multiple acoustic dimensions within songs, maintaining the continuity of spectral content across subjectively dissimilar unit "types." Singers consistently produced some unit forms more frequently and intensely than others, suggesting that units are functionally heterogeneous. The precision with which singing humpback whales continuously adjusted the acoustic characteristics of units shows that they possess exquisite vocal control mechanisms and vocal flexibility beyond what is seen in most animals other than humans. The gradual morphing of units within songs that we observed is inconsistent with past claims that humpback whales construct songs from a fixed repertoire of discrete unit types. These findings challenge the results of past studies based on fixed-unit classification methods and argue for the development of new metrics for characterizing the graded structure of units. The specific vocal variations that singers produced suggest that humpback whale songs are unlikely to provide detailed information about a singer's reproductive fitness, but can reveal the precise locations and movements of singers from long distances and may enhance the effectiveness of units as sonar signals.

Harsh is large: nonlinear vocal phenomena lower voice pitch and exaggerate body size

A lion's roar, a dog's bark, an angry yell in a pub brawl: what do these vocalizations have in common? They all sound harsh due to nonlinear vocal phenomena (NLP)—deviations from regular voice production, hypothesized to lower perceived voice pitch and thereby exaggerate the apparent body size of the vocalizer. To test this yet uncorroborated hypothesis, we synthesized human nonverbal vocalizations, such as roars, groans and screams, with and without NLP (amplitude modulation, subharmonics and chaos). We then measured their effects on nearly 700 listeners' perceptions of three psychoacoustic (pitch, timbre, roughness) and three ecological (body size, formidability, aggression) characteristics. In an explicit rating task, all NLP lowered perceived voice pitch, increased voice darkness and roughness, and caused vocalizers to sound larger, more formidable and more aggressive. Key results were replicated in an implicit associations test, suggesting that the ‘harsh is large’ bias will arise in ecologically relevant confrontational contexts that involve a rapid, and largely implicit, evaluation of the opponent's size. In sum, nonlinearities in human vocalizations can flexibly communicate both formidability and intention to attack, suggesting they are not a mere byproduct of loud vocalizing, but rather an informative acoustic signal well suited for intimidating potential opponents.

Bidirectional Interactions With Humpback Whale Singer Using Concrete Sound Elements

We describe an art–science project called “Feral Interactions—The Answer of the Humpback Whale” inspired by humpback whale songs and interactions between individuals based on mutual influences, learning process, or ranking in the dominance hierarchy. The aim was to build new sounds that can be used to initiate acoustic interactions with these whales, not in a one-way direction, as playbacks do, but in real interspecies exchanges. Thus, we investigated how the humpback whales generate sounds in order to better understand their abilities and limits. By carefully listening to their emitted vocalizations, we also describe their acoustic features and temporal structure, in a scientific way and also with a musical approach as it is done with musique concrète, in order to specify the types and the morphologies of whale sounds. The idea is to highlight the most precise information to generate our own sounds that will be suggested to the whales. Based on the approach developed in musique concrète, similarities with the sounds produced by bassoon were identified and then were processed to become “concrete sound elements.” This analysis also brought us to design a new music interface that allows us to create adapted musical phrases in real-time. With this approach, interactions will be possible in both directions, from and to whales.

Multiple pygmy blue whale acoustic populations in the Indian Ocean: whale song identifies a possible new population

Blue whales were brought to the edge of extinction by commercial whaling in the twentieth century and their recovery rate in the Southern Hemisphere has been slow; they remain endangered. Blue whales, although the largest animals on Earth, are difficult to study in the Southern Hemisphere, thus their population structure, distribution and migration remain poorly known. Fortunately, blue whales produce powerful and stereotyped songs, which prove an effective clue for monitoring their different ‘acoustic populations.’ The DGD-Chagos song has been previously reported in the central Indian Ocean. A comparison of this song with the pygmy blue and Omura’s whale songs shows that the Chagos song are likely produced by a distinct previously unknown pygmy blue whale population. These songs are a large part of the underwater soundscape in the tropical Indian Ocean and have been so for nearly two decades. Seasonal differences in song detections among our six recording sites suggest that the Chagos whales migrate from the eastern to western central Indian Ocean, around the Chagos Archipelago, then further east, up to the north of Western Australia, and possibly further north, as far as Sri Lanka. The Indian Ocean holds a greater diversity of blue whale populations than thought previously.

Do nonlinear vocal phenomena signal negative valence or high emotion intensity?

Nonlinear vocal phenomena (NLPs) are commonly reported in animal calls and, increasingly, in human vocalizations. These perceptually harsh and chaotic voice features function to attract attention and convey urgency, but they may also signal aversive states. To test whether NLPs enhance the perception of negative affect or only signal high arousal, we added subharmonics, sidebands or deterministic chaos to 48 synthetic human nonverbal vocalizations of ambiguous valence: gasps of fright/surprise, moans of pain/pleasure, roars of frustration/achievement and screams of fear/delight. In playback experiments (N = 900 listeners), we compared their perceived valence and emotion intensity in positive or negative contexts or in the absence of any contextual cues. Primarily, NLPs increased the perceived aversiveness of vocalizations regardless of context. To a smaller extent, they also increased the perceived emotion intensity, particularly when the context was negative or absent. However, NLPs also enhanced the perceived intensity of roars of achievement, indicating that their effects can generalize to positive emotions. In sum, a harsh voice with NLPs strongly tips the balance towards negative emotions when a vocalization is ambiguous, but with sufficiently informative contextual cues, NLPs may be re-evaluated as expressions of intense positive affect, underlining the importance of context in nonverbal communication.

Acoustic allometry and vocal learning in mammals

Acoustic allometry is the study of how animal vocalizations reflect their body size. A key aim of this research is to identify outliers to acoustic allometry principles and pinpoint the evolutionary origins of such outliers. A parallel strand of research investigates species capable of vocal learning, the experience-driven ability to produce novel vocal signals through imitation or modification of existing vocalizations. Modification of vocalizations is a common feature found when studying both acoustic allometry and vocal learning. Yet, these two fields have only been investigated separately to date. Here, we review and connect acoustic allometry and vocal learning across mammalian clades, combining perspectives from bioacoustics, anatomy and evolutionary biology. Based on this, we hypothesize that, as a precursor to vocal learning, some species might have evolved the capacity for volitional vocal modulation via sexual selection for 'dishonest' signalling. We provide preliminary support for our hypothesis by showing significant associations between allometric deviation and vocal learning in a dataset of 164 mammals. Our work offers a testable framework for future empirical research linking allometric principles with the evolution of vocal learning.

The Sonar Model for Humpback Whale Song Revised

Why do humpback whales sing? This paper considers the hypothesis that humpback whales may use song for long range sonar. Given the vocal and social behavior of humpback whales, in several cases it is not apparent how they monitor the movements of distant whales or prey concentrations. Unless distant animals produce sounds, humpback whales are unlikely to be aware of their presence or actions. Some field observations are strongly suggestive of the use of song as sonar. Humpback whales sometimes stop singing and then rapidly approach distant whales in cases where sound production by those whales is not apparent, and singers sometimes alternately sing and swim while attempting to intercept another whale that is swimming evasively. In the evolutionary development of modern cetaceans, perceptual mechanisms have shifted from reliance on visual scanning to the active generation and monitoring of echoes. It is hypothesized that as the size and distance of relevant events increased, humpback whales developed adaptive specializations for long-distance echolocation. Differences between use of songs by humpback whales and use of sonar by other echolocating species are discussed, as are similarities between bat echolocation and singing by humpback whales. Singing humpback whales are known to emit sounds intense enough to generate echoes at long ranges, and to flexibly control the timing and qualities of produced sounds. The major problem for the hypothesis is the lack of recordings of echoes from other whales arriving at singers immediately before they initiate actions related to those whales. An earlier model of echoic processing by singing humpback whales is here revised to incorporate recent discoveries. According to the revised model, both direct echoes from targets and modulations in song-generated reverberation can provide singers with information that can help them make decisions about future actions related to mating, traveling, and foraging. The model identifies acoustic and structural features produced by singing humpback whales that may facilitate a singer's ability to interpret changes in echoic scenes and suggests that interactive signal coordination by singing whales may help them to avoid mutual interference. Specific, testable predictions of the model are presented.

A pulsed-air model of blue whale B call vocalizations

Blue whale sound production has been thought to occur by Helmholtz resonance via air flowing from the lungs into the upper respiratory spaces. This implies that the frequency of blue whale vocalizations might be directly proportional to the size of their sound-producing organs. Here we present a sound production mechanism where the fundamental and overtone frequencies of blue whale B calls can be well modeled using a series of short-duration (<1 s) wavelets. We propose that the likely source of these wavelets are pneumatic pulses caused by opening and closing of respiratory valves during air recirculation between the lungs and laryngeal sac. This vocal production model is similar to those proposed for humpback whales, where valve open/closure and vocal fold oscillation is passively driven by airflow between the lungs and upper respiratory spaces, and implies call frequencies could be actively changed by the animal to center fundamental tones at different frequency bands during the call series.