Global cultural evolutionary model of humpback whale song

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.

Cultural evolution in the science of culture and cultural evolution

My critical review [1] elicited a welcome diversity of perspectives across the 12 commentaries now published [2-13]. In total 28 co-authors were inspired to contribute. In addition to engaging with the critical perspectives of my review, several of the commentaries take the debates and discussions into insightful and potentially important supplementary domains that I highlight in what follows. I have extracted a number of major themes in which I detected overlaps in the foci of different commentaries, and I use these to organise my replies. I hope that our shared efforts will constitute some degree of 'cultural evolution' in our science, as suggested in the title of this reply to commentaries.

Chimpanzees communicate to coordinate a cultural practice

Human culture thrives by virtue of communication, yet whether communication plays an influential role in the cultural lives of other animals remains understudied. Here, we investigated whether chimpanzees use communication to engage in a cultural practice by analysing grooming handclasp (GHC) interactions-a socio-cultural behaviour requiring interindividual coordination for successful execution. Previous accounts attributed GHC initiations to behavioural shaping, whereby the initiator physically moulds the partner's arm into the desired GHC posture. Using frame-by-frame analysis and matched-control methodology, we find that chimpanzees do not only shape their partner's posture (22%), but also use gestural communication to initiate GHC (44%), which requires an active and synchronized response from the partner. Moreover, in a third (34%) of the GHC initiations, the requisite coordination was achieved by seemingly effortless synchrony. Lastly, using a longitudinal approach, we find that for GHC initiations, communication occurs more frequently than shaping in experienced dyads and less in mother-offspring dyads. These findings are consistent with ontogenetic ritualization, thereby reflecting first documentation of chimpanzees communicating to coordinate a cultural practice. We conclude that chimpanzees show interactional flexibility in the socio-cultural domain, opening the possibility that the interplay between communication and culture is rooted in our deep evolutionary history.

Dialects in North American elk bugle calls: comparisons between source and translocated elk populations

Identifying the factors shaping dialects can reveal selective pressures and cultural influences on acoustic signals. Translocations of species have been considered the “gold standard” for identifying population differences in vocalizations, including dialects. The North American elk (Cervus canadensis) is a species that has experienced numerous translocations, but no published studies exist on dialects in elk or any other ungulate species. Adult male North American elk utter an iconic vocalization during the breeding season, which is termed the bugle call due to the power, duration, and pitch of the sound. We investigated if dialect differences existed between three populations: a source population in Wyoming (N = 10 bulls, 132 calls) and translocated populations in Colorado (N = 13 bulls, 92 calls) and Pennsylvania (N = 20 bulls, 160 calls). Dialect differences existed between the populations in 9 of 10 measured variables, in both the frequency domain and time domain. Habitat factors (acoustic adaptation hypothesis) affecting sound transmission were inconsistently related to dialects in the populations. Genetic factors may be related to dialects, as the historically bottlenecked Pennsylvania population, with low heterozygosity and low allelic richness, exhibited the least variability in acoustic measures. Cultural transmission and vocal learning may also contribute to dialect development in this highly vocal, social ungulate species.

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.

Mathematical models of long term evolution of blue whale song types' frequencies

The linear decrease in the frequency of blue whale songs around the world is, to date, an unexplained phenomenon. We show it can be reproduced by a mathematical model considering two antagonistic behavioral trends: first, a bias towards conformity in the song, and second, a tendency to try and sing lower than the other whales. We check the robustness of our model by considering some more complex premises. First, different hierarchical relations between the singers are explored, adapting methods used in the flocking motion studies. Then a population-dependant simulation shows that even considering the gradual addition of new whales, the evolution is still globally linear. Finally, we show that intra-annual variations surging from different causes can be naturally incorporated into the model. We then conclude that, unlike other explanations, a cultural hypothesis seems compatible with the observed linearity of the blue whales's songs frequency shift.

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.

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'.