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

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.

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.

Mitochondrial Dysfunction Pathway Alterations Offer Potential Biomarkers and Therapeutic Targets for Ovarian Cancer

The mitochondrion is a very versatile organelle that participates in some important cancer-associated biological processes, including energy metabolism, oxidative stress, mitochondrial DNA (mtDNA) mutation, cell apoptosis, mitochondria-nuclear communication, dynamics, autophagy, calcium overload, immunity, and drug resistance in ovarian cancer. Multiomics studies have found that mitochondrial dysfunction, oxidative stress, and apoptosis signaling pathways act in human ovarian cancer, which demonstrates that mitochondria play critical roles in ovarian cancer. Many molecular targeted drugs have been developed against mitochondrial dysfunction pathways in ovarian cancer, including olive leaf extract, nilotinib, salinomycin, Sambucus nigra agglutinin, tigecycline, and eupatilin. This review article focuses on the underlying biological roles of mitochondrial dysfunction in ovarian cancer progression based on omics data, potential molecular relationship between mitochondrial dysfunction and oxidative stress, and future perspectives of promising biomarkers and therapeutic targets based on the mitochondrial dysfunction pathway for ovarian cancer.

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'.

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’.

Humpback whale song recordings suggest common feeding ground occupation by multiple populations

Humpback whale males are known to sing on their low-latitude breeding grounds, but it is well established that songs are also commonly produced ‘off-season’ on the feeding grounds or during migration. This opens exciting opportunities to investigate migratory aggregations, study humpback whale behavioral plasticity and potentially even assign individual singers to specific breeding grounds. In this study, we analyzed passive acoustic data from 13 recording positions and multiple years (2011–2018) within the Atlantic sector of the Southern Ocean (ASSO). Humpback whale song was detected at nine recording positions in five years. Most songs were recorded in May, austral fall, coinciding with the rapid increase in sea ice concentration at most recording positions. The spatio-temporal pattern in humpback whale singing activity on Southern Ocean feeding grounds is most likely shaped by local prey availability and humpback whale migratory strategies. Furthermore, the comparative analyses of song structures clearly show a differentiation of two song groups, of which one was solely recorded at the western edge of the ASSO and the other song group was recorded throughout the ASSO. This new finding suggests a common feeding ground occupation by multiple humpback whale populations in the ASSO, allowing for cultural and potentially even genetic exchange among populations.

Allopatric humpback whales of differing generations share call types between foraging and wintering grounds

Humpback whales (Megaptera novaeangliae) are a cosmopolitan baleen whale species with geographically isolated lineages. Despite last sharing an ancestor ~ 2-3 million years ago, Atlantic and Pacific foraging populations share five call types. Whether these call types are also shared between allopatric breeding and foraging populations is unclear, but would provide further evidence that some call types are ubiquitous and fixed. We investigated whether these five call types were present on a contemporary foraging ground (Newfoundland, 2015-2016) and a historic breeding ground (Hawaii, 1981-1982). Calls were classified using aural/visual (AV) characteristics; 16 relevant acoustic variables were measured and a Principal Component Analysis (PCA) was used to examine within-call and between-population variation. To assess whether between-population variation influenced classification, all 16 variables were included in classification and regression tree (CART) and random forest analyses (RF). All five call types were identified in both populations. Between-population variation in combined acoustic variables (PC1, PC2, PC3) was lower within call types than among call types, and high agreement between AV and quantitative classification (CART: 83% agreement; RF: 77% agreement) suggested that acoustic characteristics were more similar within than among call types. Findings indicate that these five call types are shared across allopatric populations, generations, and behavioural contexts.

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.

Acoustic metrics to assess humpback whale song unit structure from the Atlantic sector of the Southern ocean

Acoustic metrics (AMs) aggregate the acoustic information of a complex signal into a unique number, assisting our interpretation of acoustic environments and providing a rapid and intuitive solution to analyze large passive acoustic datasets. Manual identification and characterization of intraspecific call trait variation has been largely used in a variety of sonic taxa. However, it is time consuming, relatively subjective, and measurements can suffer from low replicability. This study assesses the potential of using a combination of standardized and automatically computed AMs to train a supervised classification model, as an alternative to discrimination protocols and manual measurements to categorize humpback whale (Megaptera novaeangliae) song units from the Southern Ocean. Our random forest model successfully discriminated between the 12 humpback whale unit types (UT), achieving an average classification accuracy of 84%. UTs were further described and discussed in the context of the hierarchical structure of humpback whale song in the Southern Ocean. We show that accurate discriminant models based on relevant AM combinations provide an interesting automated solution to use for simple, rapid, and highly reproducible identification and comparison of vocalization types in humpback whale populations, with the potential to be applied to both aquatic and terrestrial contexts, on other vocal species, and over different acoustic scales.

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.

Contribution to unravel variability in bowhead whale songs and better understand its ecological significance

Since the first studies on bowhead whale singing behaviour, song variations have been consistently reported. However, there has been little discussion regarding variability in bowhead whale singing display and its ecological significance. Unlike the better studied humpback whales, bowhead whales do not appear to share songs at population level, but several studies have reported song sharing within clusters of animals. Over the winter season 2013-2014, in an unstudied wintering ground off Northeast Greenland, 13 song groups sharing similar hierarchical structure and units were identified. Unit types were assessed through multidimensional maps, showing well separated clusters corresponding to manually labelled units, and revealing the presence of unit subtypes. Units presented contrasting levels of variability over their acoustic parameters, suggesting that bowhead whales keep consistency in some units while using a continuum in values of frequency, duration and modulation parameters for other unit types. Those findings emphasise the need to account for variability in song analysis to better understand the behavioural ecology of this endangered species. Additionally, shifting from song toward units or phrase-based analysis, as it has been suggested for humpback whales, offers the opportunity to identify and track similarities in songs over temporal and geographical scales relevant to population monitoring.