Song hybridization events during revolutionary song change provide insights into cultural transmission in humpback whales

Cetaceans are the next frontier for vocal rhythm research

While rhythm can facilitate and enhance many aspects of behavior, its evolutionary trajectory in vocal communication systems remains enigmatic. We can trace evolutionary processes by investigating rhythmic abilities in different species, but research to date has largely focused on songbirds and primates. We present evidence that cetaceans-whales, dolphins, and porpoises-are a missing piece of the puzzle for understanding why rhythm evolved in vocal communication systems. Cetaceans not only produce rhythmic vocalizations but also exhibit behaviors known or thought to play a role in the evolution of different features of rhythm. These behaviors include vocal learning abilities, advanced breathing control, sexually selected vocal displays, prolonged mother-infant bonds, and behavioral synchronization. The untapped comparative potential of cetaceans is further enhanced by high interspecific diversity, which generates natural ranges of vocal and social complexity for investigating various evolutionary hypotheses. We show that rhythm (particularly isochronous rhythm, when sounds are equally spaced in time) is prevalent in cetacean vocalizations but is used in different contexts by baleen and toothed whales. We also highlight key questions and research areas that will enhance understanding of vocal rhythms across taxa. By coupling an infraorder-level taxonomic assessment of vocal rhythm production with comparisons to other species, we illustrate how broadly comparative research can contribute to a more nuanced understanding of the prevalence, evolution, and possible functions of rhythm in animal communication.

Quantum Leaps in Human Biocultural Evolution and the Relationship to Cranial Capacity

The evolution of the genus Homo can only be understood by considering both of the inheritance systems that interact to shape human nature: biology and culture. While growing intellectual abilities are a key factor of human evolution, they are rarely contrasted with cultural progress. Cranial capacity data of 193 hominin fossils from the last seven million years and artefacts of increasing number and complexity in the archaeological record are used to demonstrate the concordant progression of brain-size increase and cultural development, starting approximately two million years ago. Our biocultural evolution shows a number of quantum leaps along the time axis applying to both domains. At first, humans left the canonical evolutionary pathway, which pertains to all other organisms, by enhancing their fitness using sophisticated tools and fire; secondly, they turned into a symbolic species; and finally, humanity now faces a new challenge: "intentional evolution". Chronologically, these quantum leaps correspond to cranial capacity data used here as a proxy for cognitive performance. This contribution tries to demonstrate this parallel development and argues for a simple and generalized model of human biocultural evolution. An extrapolation of the model into the future shows that humans, as biological entities, will not necessarily persist.

Variability in humpback whale songs reveals how individuals can be distinctive when sharing a complex vocal display

Individually distinctive acoustic signals in animal vocal communication are taxonomically widespread, however, the investigation of these signal types in marine mammals has focused only on a few species. Humpback whale songs are a stereotyped, hierarchically structured vocal display performed by males, and hence thought to be sexually selected. Within a population, whales conform to a common version of the song despite the song constantly evolving. While humpback songs have been studied extensively at the population level, individual level variation has been rarely described, with inconclusive results. Here, we quantified inter- and intra-individual variability at different levels in the song hierarchy using songs from 25 singers across two song types from the eastern Australian population song of 2002 (12 singers), and the revolutionary song introduced in 2003 (13 singers). Inter-individual variability was found heterogeneously across all hierarchical levels of the song structure. In addition, distinct and individually specific patterns of song production were consistently recorded across song levels, with clear structural differences between the two song types. These results suggest that within the constraints of song conformity, males can produce individually distinctive patterns that could function as an advertisement to females to convey individual qualities.

Intra-individual variation in the songs of humpback whales suggests they are sonically searching for conspecifics

Observations of animals' vocal actions can provide important clues about how they communicate and about how they perceive and react to changing situations. Here, analyses of consecutive songs produced by singing humpback whales recorded off the coast of Hawaii revealed that singers constantly vary the acoustic qualities of their songs within prolonged song sessions. Unlike the progressive changes in song structure that singing humpback whales make across months and years, intra-individual acoustic variations within song sessions appear to be largely stochastic. Additionally, four sequentially produced song components (or "themes") were each found to vary in unique ways. The most extensively used theme was highly variable in overall duration within and across song sessions, but varied relatively little in frequency content. In contrast, the remaining themes varied greatly in frequency content, but showed less variation in duration. Analyses of variations in the amount of time singers spent producing the four themes suggest that the mechanisms that determine when singers transition between themes may be comparable to those that control when terrestrial animals move their eyes to fixate on different positions as they examine visual scenes. The dynamic changes that individual whales make to songs within song sessions are counterproductive if songs serve mainly to provide conspecifics with indications of a singer's fitness. Instead, within-session changes to the acoustic features of songs may serve to enhance a singer's capacity to echoically detect, localize, and track conspecifics from long distances.

Blind alleys and fruitful pathways in the comparative study of cultural cognition

A mere few decades ago, culture was thought a unique human attribute. Evidence to the contrary accumulated through the latter part of the twentieth century and has exploded in the present one, demonstrating the transmission of traditions through social learning across all principal vertebrate taxa and even invertebrates, notably insects. The scope of human culture is nevertheless highly distinctive. What makes our cultural capacities and their cognitive underpinnings so different? In this article I argue that in behavioural scientists' endeavours to answer this question, fruitful research pathways and their ensuing discoveries have come to exist alongside popular, yet in the light of current empirical evidence, highly questionable scenarios and even scientific blind alleys. I particularly re-evaluate theories that rely on the centrality of a supposed uniquely human capacity for imitative copying in explaining the distinctive capacity for massive cumulative cultural evolution (CCE) in our species. The most extreme versions of this perspective suffer logical incoherence and severe limits on scientific testability. By contrast the field has generated a range of rigorous observational and experimental methodologies that have revealed both long-term cultural fidelity and limited forms of CCE in non-human species. Attention now turns to directly investigating the scope, limits and underlying cognition of non-human versus human CCE, with a broader approach to factors additional to cultural transmission, notably the role of invention, innovation and evolved motivational biases underlying the scope of CCE in the species studied.

Humpback whale song revolutions continue to spread from the central into the eastern South Pacific

Cultural transmission of behaviour is an important aspect of many animal communities ranging from humans to birds. Male humpback whales (Megaptera novaeangliae) sing a repetitive, stereotyped, socially learnt and culturally transmitted song display that slowly evolves each year. Most males within a population sing the same, slow-evolving song type; but in the South Pacific, song 'revolutions' have led to rapid and complete replacement of one song type by another introduced from a neighbouring population. Songs spread eastwards, from eastern Australia to French Polynesia, but the easterly extent of this transmission was unknown. Here, we investigated whether song revolutions continue to spread from the central (French Polynesia) into the eastern (Ecuador) South Pacific region. Similarity analyses using three consecutive years of song data (2016-2018) revealed that song themes recorded in 2016-2018 French Polynesian song matched song themes sung in 2018 Ecuadorian song, suggesting continued easterly transmission of song to Ecuador, and vocal connectivity across the entire South Pacific Ocean basin. This study demonstrates songs first identified in western populations can be transmitted across the entire South Pacific, supporting the potential for a circumpolar Southern Hemisphere cultural transmission of song and a vocal culture rivalled in its extent only by our own.

Humpback whale song revolutions continue to spread from the central into the eastern South Pacific

Cultural transmission of behaviour is an important aspect of many animal communities ranging from humans to birds. Male humpback whales (Megaptera novaeangliae) sing a repetitive, stereotyped, socially learnt and culturally transmitted song display that slowly evolves each year. Most males within a population sing the same, slow-evolving song type; but in the South Pacific, song 'revolutions' have led to rapid and complete replacement of one song type by another introduced from a neighbouring population. Songs spread eastwards, from eastern Australia to French Polynesia, but the easterly extent of this transmission was unknown. Here, we investigated whether song revolutions continue to spread from the central (French Polynesia) into the eastern (Ecuador) South Pacific region. Similarity analyses using three consecutive years of song data (2016-2018) revealed that song themes recorded in 2016-2018 French Polynesian song matched song themes sung in 2018 Ecuadorian song, suggesting continued easterly transmission of song to Ecuador, and vocal connectivity across the entire South Pacific Ocean basin. This study demonstrates songs first identified in western populations can be transmitted across the entire South Pacific, supporting the potential for a circumpolar Southern Hemisphere cultural transmission of song and a vocal culture rivalled in its extent only by our own.

Song complexity is maintained during inter-population cultural transmission of humpback whale songs

Among animal species, the songs of male humpback whales (Megaptera novaeangliae) are a rare example of social learning between entire populations. Understanding fine-scale similarity in song patterns and structural features will better clarify how accurately songs are learned during inter-population transmission. Here, six distinct song types (2009–2015) transmitted from the east Australian to New Caledonian populations were quantitatively analysed using fine-scale song features. Results found that New Caledonian whales learned each song type with high accuracy regardless of the pattern’s complexity. However, there were rare instances of themes (stereotyped patterns of sound units) only sung by a single population. These occurred more often in progressively changing ‘evolutionary’ songs compared to rapidly changing ‘revolutionary’ songs. Our results suggest that populations do not need to reduce complexity to accurately learn song patterns. Populations may also incorporate changes and embellishments into songs in the form of themes which are suggested to be learnt as distinct segments. Maintaining complex song patterns with such accuracy suggests significant acoustic contact, supporting the hypothesis that song learning may occur on shared feeding grounds or migration routes. This study improves the understanding of inter-population mechanisms for large-scale cultural transmission in animals.

Efficiency fosters cumulative culture across species

Recent studies in several taxa have demonstrated that animal culture can evolve to become more efficient in various contexts ranging from tool use to route learning and migration. Under recent definitions, such increases in efficiency might satisfy the core criteria of cumulative cultural evolution (CCE). However, there is not yet a satisfying consensus on the precise definition of efficiency, CCE or the link between efficiency and more complex, extended forms of CCE considered uniquely human. To bring clarity to this wider discussion of CCE, we develop the concept of efficiency by (i) reviewing recent potential evidence for CCE in animals, and (ii) clarifying a useful definition of efficiency by synthesizing perspectives found within the literature, including animal studies and the wider iterated learning literature. Finally, (iii) we discuss what factors might impinge on the informational bottleneck of social transmission, and argue that this provides pressure for learnable behaviours across species. We conclude that framing CCE in terms of efficiency casts complexity in a new light, as learnable behaviours are a requirement for the evolution of complexity. Understanding how efficiency greases the ratchet of cumulative culture provides a better appreciation of how similar cultural evolution can be between taxonomically diverse species-a case for continuity across the animal kingdom. This article is part of a discussion meeting issue 'The emergence of collective knowledge and cumulative culture in animals, humans and machines'.

When does cultural evolution become cumulative culture? A case study of humpback whale song

Culture presents a second inheritance system by which innovations can be transmitted between generations and among individuals. Some vocal behaviours present compelling examples of cultural evolution. Where modifications accumulate over time, such a process can become cumulative cultural evolution. The existence of cumulative cultural evolution in non-human animals is controversial. When physical products of such a process do not exist, modifications may not be clearly visible over time. Here, we investigate whether the constantly evolving songs of humpback whales (Megaptera novaeangliae) are indicative of cumulative cultural evolution. Using nine years of song data recorded from the New Caledonian humpback whale population, we quantified song evolution and complexity, and formally evaluated this process in light of criteria for cumulative cultural evolution. Song accumulates changes shown by an increase in complexity, but this process is punctuated by rapid loss of song material. While such changes tentatively satisfy the core criteria for cumulative cultural evolution, this claim hinges on the assumption that novel songs are preferred by females. While parsimonious, until such time as studies can link fitness benefits (reproductive success) to individual singers, any claims that humpback whale song evolution represents a form of cumulative cultural evolution may remain open to interpretation. This article is part of a discussion meeting issue 'The emergence of collective knowledge and cumulative culture in animals, humans and machines'.

A socio-ecological perspective on the gestural communication of great ape species, individuals, and social units

Over the last 30 years, most research on non-human primate gestural communication has been produced by psychologists, which has shaped the questions asked and the methods used. These researchers have drawn on concepts from philosophy, linguistics, anthropology, and ethology, but despite these broad influences the field has neglected to situate gestures into the socio-ecological context in which the diverse species, individuals, and social-units exist. In this review, we present current knowledge about great ape gestural communication in terms of repertoires, meanings, and development. We fold this into a conversation about variation in other types of ape social behaviour to identify areas for future research on variation in gestural communication. Given the large variation in socio-ecological factors across species and social-units (and the individuals within these groups), we may expect to find different preferences for specific gesture types; different needs for communicating specific meanings; and different rates of encountering specific contexts. New tools, such as machine-learning based automated movement tracking, may allow us to uncover potential variation in the speed and form of gesture actions or parts of gesture actions. New multi-group multi-generational datasets provide the opportunity to apply analyses, such as Bayesian modelling, which allows us to examine these rich behavioural landscapes. Together, by expanding our questions and our methods, researchers may finally be able to study great ape gestures from the perspective of the apes themselves and explore what this gestural communication system reveals about apes’ thinking and experience of their world.

Global cultural evolutionary model of humpback whale song

Humpback whale song is an extraordinary example of vocal cultural behaviour. In northern populations, the complex songs show long-lasting traditions that slowly evolve, while in the South Pacific, periodic revolutions occur when songs are adopted from neighbouring populations and rapidly spread. In this species, vocal learning cannot be studied in the laboratory, learning is instead inferred from the songs' complexity and patterns of transmission. Here, we used individual-based cultural evolutionary simulations of the entire Southern and Northern Hemisphere humpback whale populations to formalize this process of inference. We modelled processes of song mutation and patterns of contact among populations and compared our model with patterns of song theme sharing measured in South Pacific populations. Low levels of mutation in combination with rare population interactions were sufficient to closely fit the pattern of diversity in the South Pacific, including the distinctive pattern of west-to-east revolutions. Interestingly, the same learning parameters that gave rise to revolutions in the Southern Hemisphere simulations gave rise to evolutionary patterns of cultural evolution in the Northern Hemisphere populations. Our study demonstrates how cultural evolutionary approaches can be used to make inferences about the learning processes underlying cultural transmission and how they might generate emergent population-level processes.

This article is part of the theme issue ‘Vocal learning in animals and humans’.

Geographically distinct blue whale song variants in the Northeast Pacific

The Northeast Pacific (NEP) population of blue whales Balaenoptera musculus musculus is currently managed as a single stock. We investigated the fine-scale frequency characteristics of 1 NEP blue whale song unit, the B call. We analyzed B calls from passive acoustic data collected between 2010 and 2013 at 2 low-latitude sites, Palmyra Atoll and the Hawaiian Islands, and 3 higher-latitude sites, off southern California, off Washington state and in the Gulf of Alaska. Frequency measurements were extracted along the contour of the third harmonic from each call, and data from each region were compared. Calls from the Gulf of Alaska and Hawai‘i presented a downshift in frequency, beginning just past the midway point of the contour, which was not present in calls recorded from southern California or Palmyra Atoll. Calls from Washington displayed intermediate characteristics between those from the other 2 high-latitude sites. Cluster analysis resulted in consistent grouping of call contours from Washington and southern California, in what we termed the NEP B1 variant, while contours from Hawai‘i and the Gulf of Alaska were grouped together, as a NEP B2 variant. Frequency differences were also observed among the variants; the Gulf of Alaska displayed the highest frequency on average, followed by Washington, then southern California. Consistent with other studies, a yearly decline in the frequency of B calls was also observed. This discovery of at least 2 geographically distinct variants provides the first evidence of vocally distinct subpopulations within the NEP, indicating the possibility of a need for finer-scale population segmentation.

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.

Insights from comparative research on social and cultural learning

Social cognitive skills play a crucial role in human life, and have allowed us to reach a unique level of behavioral and cultural complexity. However, many nonhuman species also show a complex understanding of the social world. Building on theories of human social development, we will follow the emergence of cultural learning skills across taxa, discussing similarities and differences between humans and other species. We will first review literature on social learning, including enhancement, emulation and imitation. Then, we will discuss existing studies on the evolution of teaching, and finally, we will critically review literature on the social transmission of skills and knowledge across generations. By adopting a comparative perspective, we will be able to identify the unique characteristics of social transmission in humans, and the social skills that are instead shared with other species, to gain a deeper understanding of the role of cultural learning in social cognitive development.

Kin relationships in cultural species of the marine realm: case study of a matrilineal social group of sperm whales off Mauritius island, Indian Ocean

Understanding the organization and dynamics of social groups of marine mammals through the study of kin relationships is particularly challenging. Here, we studied a stable social group of sperm whales off Mauritius, using underwater observations, individual-specific identification, non-invasive sampling and genetic analyses based on mitochondrial sequencing and microsatellite profiling. Twenty-four sperm whales were sampled between 2017 and 2019. All individuals except one adult female shared the same mitochondrial DNA (mtDNA) haplotype-one that is rare in the western Indian Ocean-thus confirming with near certainty the matrilineality of the group. All probable first- and second-degree kin relationships were depicted in the sperm whale social group: 13 first-degree and 27 second-degree relationships were identified. Notably, we highlight the likely case of an unrelated female having been integrated into a social unit, in that she presented a distinct mtDNA haplotype and no close relationships with any members of the group. Investigating the possible matrilineality of sperm whale cultural units (i.e. vocal clans) is the next step in our research programme to elucidate and better apprehend the complex organization of sperm whale social groups.

Song Morphing by Humpback Whales: Cultural or Epiphenomenal?

Singing humpback whales (Megaptera noavaengliae) collectively and progressively change the sounds and patterns they produce within their songs throughout their lives. The dynamic modifications that humpback whales make to their songs are often cited as an impressive example of cultural transmission through vocal learning in a non-human. Some elements of song change challenge this interpretation, however, including: (1) singers often incrementally and progressively morph phrases within and across songs as time passes, with trajectories of change being comparable across multiple time scales; (2) acoustically isolated subpopulations singing similar songs morph the acoustic properties of songs in similar ways; and (3) complex sound patterns, including phrases, themes, and whole songs, recur across years and populations. These properties of song dynamics suggest that singing humpback whales may be modulating song features in response to local conditions and genetic predispositions rather than socially learning novel sound patterns by copying other singers. Experimental and observational tests of key predictions of these alternative hypotheses are critical to identifying how and why singing humpback whales constantly change their songs.

"Hearken to the Hermit-Thrush": A Case Study in Interdisciplinary Listening

Birdsong is widely analysed and discussed by people coming from both musical and scientific backgrounds. Both approaches provide valuable insight, but I argue that it is only through combining musical and scientific points of view, as well as perspectives from more tangentially related fields, that we can obtain the best possible understanding of birdsong. In this paper, I discuss how my own training as a musician, and in particular as a composer, affects how I listen to and parse birdsong. I identify nine areas of overlap between human music and birdsong, which may serve as starting points both for musical and scientific analysis, as well as for interdisciplinary analysis as practiced in the developing field of "zoomusicology." Using the hermit thrush (Catharus guttatus) as an example, I discuss how the song of a single species has been described by writers from a variety of disciplines, including music, literature, and the sciences, as well as how we can contextualise these varied perspectives in terms of broader cultural thought trends. I end with discussion of how combining approaches from multiple fields can help us to figure out new questions to ask, can help us identify how our own cultural biases may affect how we hear birdsong, and ultimately can help us develop richer and more nuanced understandings of the songs themselves.

Diffusion of Social Information in Non-grouping Animals

Recent findings indicate that the utilization of social information, produced inadvertently by other individuals through their spatial location and/or interaction with the environment, may be ubiquitous in the animal kingdom. If so, social information-mediated effects on population growth and interspecies interactions may be more prevalent than previously thought. However, little is known about how social information may spread among non-grouping individuals, i.e., in animals that do not form cohesive groups and therefore social attraction among group-mates does not facilitate information diffusion. Are there any perception-related, temporal, and/or spatial parameters that may facilitate or limit the spread of social information in temporary aggregations or among dispersed individuals in a population? We argue that living in cohesive groups is not necessarily required for the diffusion of social information and for social information-mediated effects to emerge in a population. We propose that while learning complex problem-solving techniques socially is less likely to occur in non-grouping animals, the spread of adaptive responses to social stimuli, especially to non-visual cues, can be common and may affect population, and/or community dynamics in a wide range of taxa. We also argue that network-based diffusion analysis could be a suitable analytical method for studying information diffusion in future investigations, providing comparable estimations of social effects on information spread to previous studies on group-living animals. We conclude that more studies are warranted to verify what intrinsic and extrinsic factors influence information propagation among incidentally and/or indirectly interacting individuals if we are to better understand the role of social information in animal populations and how the social and ecological characteristics of species are related to information spread in natural communities.

Migratory insights from singing humpback whales recorded around central New Zealand

The migration routes of wide-ranging species can be difficult to study, particularly at sea. In the western South Pacific, migratory routes of humpback whales between breeding and feeding areas are unclear. Male humpback whales sing a population-specific song, which can be used to match singers on migration to a breeding population. To investigate migratory routes and breeding area connections, passive acoustic recorders were deployed in the central New Zealand migratory corridor (2016); recorded humpback whale song was compared to song from the closest breeding populations of East Australia and New Caledonia (2015-2017). Singing northbound whales migrated past New Zealand from June to August via the east coast of the South Island and Cook Strait. Few song detections were made along the east coast of the North Island. New Zealand song matched New Caledonia song, suggesting a migratory destination, but connectivity to East Australia could not be ruled out. Two song types were present in New Zealand, illustrating the potential for easterly song transmission from East Australia to New Caledonia in this shared migratory corridor. This study enhances our understanding of western South Pacific humpback whale breeding population connectivity, and provides novel insights into the dynamic transmission of song culture.

Cultural Transmission, Evolution, and Revolution in Vocal Displays: Insights From Bird and Whale Song

Culture, defined as shared behavior or information within a community acquired through some form of social learning from conspecifics, is now suggested to act as a second inheritance system. Cultural processes are important in a wide variety of vertebrate species. Birdsong provides a classic example of cultural processes: cultural transmission, where changes in a shared song are learned from surrounding conspecifics, and cultural evolution, where the patterns of songs change through time. This form of cultural transmission of information has features that are different in speed and form from genetic transmission. More recently, culture, vocal traditions, and an extreme form of song evolution have been documented in cetaceans. Humpback whale song “revolutions,” where the single population-wide shared song type is rapidly replaced by a new, novel song type introduced from a neighboring population, represents an extraordinary example of ocean basin-wide cultural transmission rivaled in its geographic extent only by humans. In this review, we examine the cultural evolutions and revolutions present in some birdsong and whale song, respectively. By taking a comparative approach to these cultural processes, we review the existing evidence to understand the similarities and differences for their patterns of expression and the underlying drivers, including anthropogenic influences, which may shape them. Finally, we encourage future studies to explore the role of innovation vs. production errors in song evolution, the fitness information present in song, and how human-induced changes in population sizes, trajectories, and migratory connections facilitating cultural transmission may be driving song revolutions.

How Culture and Biology Interact to Shape Language and the Language Faculty

Recent work suggests that linguistic structure develops through cultural evolution, as a consequence of the repeated cycle of learning and use by which languages persist. This work has important implications for our understanding of the evolution of the cognitive basis for language; in particular, human language and the cognitive capacities underpinning it are likely to have been shaped by co-evolutionary processes, where the cultural evolution of linguistic systems is shaped by and in turn shapes the biological evolution of the capacities underpinning language learning. I review several models of this co-evolutionary process, which suggest that the precise relationship between evolved biases in individuals and the structure of linguistic systems depends on the extent to which cultural evolution masks or unmasks individual-level cognitive biases from selection. I finish by discussing how these co-evolutionary models might be extended to cases where the biases involved in learning are themselves shaped by experience, as is the case for language.

Syntax and compositionality in animal communication

Syntax has been found in animal communication but only humans appear to have generative, hierarchically structured syntax. How did syntax evolve? I discuss three theories of evolutionary transition from animal to human syntax: computational capacity, structural flexibility and event perception. The computation hypothesis is supported by artificial grammar experiments consistently showing that only humans can learn linear stimulus sequences with an underlying hierarchical structure, a possible by-product of computationally powerful large brains. The structural flexibility hypothesis is supported by evidence of meaning-bearing combinatorial and permutational signal sequences in animals, with sometimes compositional features, but no evidence for generativity or hierarchical structure. Again, animals may be constrained by computational limits in short-term memory but possibly also by limits in articulatory control and social cognition. The event categorization hypothesis, finally, posits that humans are cognitively predisposed to analyse natural events by assigning agency and assessing how agents impact on patients, a propensity that is reflected by the basic syntactic units in all languages. Whether animals perceive natural events in the same way is largely unknown, although event perception may provide the cognitive grounding for syntax evolution. This article is part of the theme issue 'What can animal communication teach us about human language?'

Network analysis reveals underlying syntactic features in a vocally learnt mammalian display, humpback whale song

Vocal communication systems have a set of rules that govern the arrangement of acoustic signals, broadly defined as 'syntax'. However, there is a limited understanding of potentially shared or analogous rules across vocal displays in different taxa. Recent work on songbirds has investigated syntax using network-based modelling. This technique quantifies features such as connectivity (adjacent signals in a sequence) and recurring patterns. Here, we apply network-based modelling to the complex, hierarchically structured songs of humpback whales (Megaptera novaeangliae) from east Australia. Given the song's annual evolving pattern and the cultural conformity of males within a population, network modelling captured the patterns of multiple song types over 13 consecutive years. Song arrangements in each year displayed clear 'small-world' network structure, characterized by clusters of highly connected sounds. Transitions between these connected sounds further suggested a combination of both structural stability and variability. Small-world network structure within humpback songs may facilitate the characteristic and persistent vocal learning observed. Similar small-world structures and transition patterns are found in several birdsong displays, indicating common syntactic patterns among vocal learning in multiple taxa. Understanding the syntactic rules governing vocal displays in multiple, independently evolving lineages may indicate what rules or structural features are important to the evolution of complex communication, including human language.

Cultural Evolution in Animals

In recent decades, a burgeoning literature has documented the cultural transmission of behavior through social learning in numerous vertebrate and invertebrate species. One meaning of “cultural evolution in animals” refers to these discoveries, and I present an overview of key findings. I then address the other meaning of the term focused on cultural changes within a lineage. Such changes in humans, described as “cumulative cultural evolution,” have been spectacular, but relatively little attention has yet been paid to the topic in nonhuman animals, other than asserting that the process is unique to humans. A variety of evidence including both controlled experiments and field observations has begun to challenge this view, and in some behavioral domains, notably birdsong, cultural evolution has been studied for many years. In this review, I dissect concepts of cultural evolution and cumulative culture and appraise the accumulating evidence bearing on their nature and significance for evolutionary biology at large.

Migratory convergence facilitates cultural transmission of humpback whale song

Cultural transmission of behaviour is important in a wide variety of vertebrate taxa from birds to humans. Vocal traditions and vocal learning provide a strong foundation for studying culture and its transmission in both humans and cetaceans. Male humpback whales (Megaptera novaeangliae) perform complex, culturally transmitted song displays that can change both evolutionarily (through accumulations of small changes) or revolutionarily (where a population rapidly adopts a novel song). The degree of coordination and conformity underlying song revolutions makes their study of particular interest. Acoustic contact on migratory routes may provide a mechanism for cultural revolutions of song, yet these areas of contact remain uncertain. Here, we compared songs recorded from the Kermadec Islands, a recently discovered migratory stopover, to multiple South Pacific wintering grounds. Similarities in song themes from the Kermadec Islands and multiple wintering locations (from New Caledonia across to the Cook Islands) suggest a location allowing cultural transmission of song eastward across the South Pacific, active song learning (hybrid songs) and the potential for cultural convergence after acoustic isolation at the wintering grounds. As with the correlations in humans between genes, communication and migration, the migration patterns of humpback whales are written into their songs.

Loss of cultural song diversity and the convergence of songs in a declining Hawaiian forest bird community

The effects of population decline on culturally transmitted behaviours in animals have rarely been described, but may have major implications to population viability. Learned vocal signals in birds are of critical importance to behaviours associated with reproduction, intrasexual interactions and group cohesion, and the complexity of vocal signals such as song can serve as an honest signal of an individual's quality as well as the viability of a population. In this study, we examined how rapid population declines recently experienced by Hawaiian honeycreepers on the island of Kaua'i (USA) may have influenced the diversity, complexity and similarity of learned honeycreeper songs. We analysed the acoustic characteristics of songs recorded during three time periods over a 40-year time frame for three species of declining Kaua'i honeycreepers. We detected a loss of song complexity and diversity over the 40-year time period that paralleled dramatic population declines. Concurrent with the loss of complexity, we also found that the acoustic characteristics of the three honeycreepers' songs became more similar to one another. To our knowledge, this is the first documentation of convergence of acoustic characteristics among rapidly declining species. The reduction in song complexity and diversity and convergence of songs not only signals a loss of culturally transmitted behaviours in these endemic Hawaiian honeycreepers, but also potential challenges to the recovery of these rapidly declining species. Moreover, the present study highlights that there is a 'hidden' cost to declining populations beyond just the loss of individuals that is not often considered, the loss of culturally transmitted social behaviours.

Song variation of the South Eastern Indian Ocean pygmy blue whale population in the Perth Canyon, Western Australia

Sea noise collected over 2003 to 2017 from the Perth Canyon, Western Australia was analysed for variation in the South Eastern Indian Ocean pygmy blue whale song structure. The primary song-types were: P3, a three unit phrase (I, II and III) repeated with an inter-song interval (ISI) of 170-194 s; P2, a phrase consisting of only units II & III repeated every 84-96 s; and P1 with a phrase consisting of only unit II repeated every 45-49 s. The different ISI values were approximate multiples of each other within a season. When comparing data from each season, across seasons, the ISI value for each song increased significantly through time (all fits had p << 0.001), at 0.30 s/Year (95%CI 0.217-0.383), 0.8 s/Year (95%CI 0.655-1.025) and 1.73 s/Year (95%CI 1.264-2.196) for the P1, P2 and P3 songs respectively. The proportions of each song-type averaged at 21.5, 24.2 and 56% for P1, P2 and P3 occurrence respectively and these ratios could vary by up to ± 8% (95% CI) amongst years. On some occasions animals changed the P3 ISI to be significantly shorter (120-160 s) or longer (220-280 s). Hybrid song patterns occurred where animals combined multiple phrase types into a repeated song. In recent years whales introduced further complexity by splitting song units. This variability of song-type and proportions implies abundance measure for this whale sub population based on song detection needs to factor in trends in song variability to make data comparable between seasons. Further, such variability in song production by a sub population of pygmy blue whales raises questions as to the stability of the song types that are used to delineate populations. The high level of song variability may be driven by an increasing number of background whale callers creating 'noise' and so forcing animals to alter song in order to 'stand out' amongst the crowd.

Culturally transmitted song exchange between humpback whales (Megaptera novaeangliae) in the southeast Atlantic and southwest Indian Ocean basins

In migratory marine species, investigating population connectivity and structure can be challenging given barriers to dispersal are less evident and multiple factors may influence individual movement patterns. Male humpback whales sing a song display that can provide insights into contemporary connectivity patterns, as there can be a cultural exchange of a single, population-wide shared song type with neighbouring populations in acoustic contact. Here, we investigated song exchange between populations located on the east and west coasts of Africa using 5 years of concurrent data (2001-2005). Songs were qualitatively and quantitatively transcribed by measuring acoustic features of all song units and then compared using both Dice's similarity index and the Levenshtein distance similarity index (LSI) to quantitatively calculate song similarity. Song similarity varied among individuals and potentially between populations depending on the year (Dice: 36-100%, LSI: 21-100%), suggesting varying levels of population connectivity and/or interchange among years. The high degree of song sharing indicated in this study further supports genetic studies that demonstrate interchange between these two populations and reinforces the emerging picture of broad-scale connectivity in Southern Hemisphere populations. Further research incorporating additional populations and years would be invaluable for better understanding of fine-scale, song interchange patterns between Southern Hemisphere male humpback whales.

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.