Temporal stability and change in the social call repertoire of migrating humpback whales

Interactive bioacoustic playback as a tool for detecting and exploring nonhuman intelligence: "conversing" with an Alaskan humpback whale

Here we report on a rare and opportunistic acoustic turn-taking with an adult female humpback whale, known as Twain, in Southeast Alaska. Post hoc acoustic and statistical analyses of a 20-min acoustic exchange between the broadcast of a recorded contact call, known as a 'whup/throp', with call responses by Twain revealed an intentional human-whale acoustic (and behavioral) interaction. Our results show that Twain participated both physically and acoustically in three phases of interaction (Phase 1: Engagement, Phase 2: Agitation, Phase 3: Disengagement), independently determined by blind observers reporting on surface behavior and respiratory activity of the interacting whale. A close examination of both changes to the latency between Twain's calls and the temporal matching to the latency of the exemplar across phases indicated that Twain was actively engaged in the exchange during Phase 1 (Engagement), less so during Phase 2 (Agitation), and disengaged during Phase 3 (Disengagement). These results, while preliminary, point to several key considerations for effective playback design, namely the importance of salient, dynamic and adaptive playbacks, that should be utilized in experimentation with whales and other interactive nonhuman species.

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.

Vocal complexity in Antillean manatees (Trichechus manatus manatus)

Vocal complexity can be expressed through variations in repertoire size, structure, and individual manatee repertoires. Here we aimed to assess the complexity of the vocal behaviour of Antillean manatees living in captivity (i.e., artificial pools) and in reintroduction enclosures (i.e., natural enclosures placed in an estuarine area). Specifically, we evaluated: (i) the structure of vocalisations to assess whether they had variants; (ii) the variation in call production (rate and pattern) between groups with different configurations; (iii) whether individuality occurred in vocalisation structure. We found four categories of vocalisations, of which two had different variants. Not all study groups produced all call categories and variants. Older and younger males in the reintroduction enclosures had the highest call rates compared to captive females and captive males. The vocal and behavioural patterns differed between groups. Squeak call structure differed between individuals. Such vocal complexity may aid manatees in adapting to their dynamic social and structural environment, facilitating communication.

Social calls in humpback whale mother-calf groups off Sainte Marie breeding ground (Madagascar, Indian Ocean)

Humpback whales (Megaptera novaeangliae) use vocalizations during diverse social interactions or activities such as foraging or mating. Unlike songs produced only by males, social calls are produced by all types of individuals (adult males and females, juveniles and calves). Several studies have described social calls in the humpback whale's breeding and the feeding grounds and from different geographic areas. We aimed to investigate for the first time the vocal repertoire of humpback whale mother-calf groups during the breeding season off Sainte Marie island, Madagascar, South Western Indian Ocean using data collected in 2013, 2014, 2016, and 2017. We recorded social calls using Acousonde tags deployed on the mother or the calf in mother-calf groups. A total of 21 deployments were analyzed. We visually and aurally identified 30 social call types and classified them into five categories: low, medium, high-frequency sounds, amplitude-modulated sounds, and pulsed sounds. The aural-visual classifications have been validated using random forest (RF) analyses. Low-frequency sounds constituted 46% of all social calls, mid-frequency 35%, and high frequency 10%. Amplitude-modulated sounds constituted 8% of all vocalizations, and pulsed sounds constituted 1%. While some social call types seemed specific to our study area, others presented similarities with social calls described in other geographic areas, on breeding and foraging grounds, and during migrating routes. Among the call types described in this study, nine call types were also found in humpback whale songs recorded in the same region. The 30 call types highlight the diversity of the social calls recorded in mother-calf groups and thus the importance of acoustic interactions in the relationships between the mother and her calf and between the mother-calf pair and escorts.

Detection of humpback whale (Megaptera novaeangliae) non-song vocalizations around the Vema Seamount, southeast Atlantic Ocean

Humpback whales are a cosmopolitan, highly vocal species. Investigated here are their vocalizations recorded at the Vema Seamount (31°38'S, 08°20'E) from moored hydrophones in the austral spring of 2019. During the 11-d recording period over 600 non-song calls were detected. Calls were predominantly detected at night over three consecutive days. The most common calls were low, frequency-modulated sounds (whups). An impulsive sound (gunshot) previously unknown in humpback whales was also detected. The location and timing of the calls suggests that humpback whales may be using the Vema Seamount as a temporary stop on their migration to their polar feeding grounds.

Unravelling the Stability of Nightingale Song Over Time and Space Using Open, Citizen Science and Shared Data

Open science approaches enable and facilitate the investigation of many scientific questions in bioacoustics, such as studies on the temporal and spatial evolution of song, as in vocal dialects. In contrast to previous dialect studies, which mostly focused on songbird species with a small repertoire, here we studied the common nightingale (Luscinia megarhynchos), a bird species with a complex and large repertoire. To study dialects on the population level in this species, we used recordings from four datasets: an open museum archive, a citizen science platform, a citizen science project, and shared recordings from academic researchers. We conducted to the date largest temporal and geographic dialect study of birdsong including recordings from 1930 to 2019 and from 13 European countries, with a geographical coverage of 2,652 km of linear distance. To examine temporal stability and spatial dialects, a catalog of 1,868 song types of common nightingales was created. Instead of dialects, we found a high degree of stability over time and space in both, the sub-categories of song and in the occurrence of song types. For example, the second most common song type in our datasets occurred over nine decades and across Europe. In our case study, open and citizen science data proved to be equivalent, and in some cases even better, than data shared by an academic research group. Based on our results, we conclude that the combination of diverse and open datasets was particularly useful to study the evolution of song in a bird species with a large repertoire.

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.

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.

In-air and underwater sounds of hooded seals during the breeding season in the Gulf of St. Lawrence

The hooded seal is a migratory species inhabiting the North Atlantic. Passive acoustic monitoring (PAM) conducted over spatial scales consistent with their known and potential habitat could provide insight into seasonal and spatial occurrence patterns of this species. Hooded seal airborne and underwater acoustic signals were recorded during the breeding season on the pack ice in the Gulf of St. Lawrence in March 2018 to better characterize their acoustic repertoire (notably underwater calls). In-air and underwater signals were classified into 12 and 22 types, respectively. Signals produced by males through the inflation and deflation of the proboscis and septum were the predominant sounds heard on the ice surface. Five of the 22 underwater signals were proboscis and septum noises. The remaining underwater signals (17) were categorized as voiced calls and further analyzed using two classification methods. Agreement with the initial subjective classification of voiced calls was high (77% for classification tree analysis and 88% for random forest analysis), showing that 12-13 call types separated well. The hooded seal's underwater acoustic repertoire is larger and more diverse than has been previously described. This study provides important baseline information necessary to monitor hooded seals using PAM.

Fuzzy clustering as a tool to differentiate between discrete and graded call types

Animals may communicate potential information to conspecifics using stereotyped "discrete" calls and variable "graded" calls. However, animal vocal research often centers on identifying the number of call types in a repertoire rather than quantifying the amount of gradation. Here, fuzzy clustering was applied to the social call repertoire of a species with a complex communication system, the humpback whale (Megaptera novaeangliae). Of 26 call types, 6 were classified as discrete, 7 as graded, and 13 as intermediate. These results indicate that humpback whales have a graded call repertoire, and fuzzy clustering may be a useful approach to investigate this variability.

Long-term stability of vocal individuality cues in a territorial and monogamous seabird

The stability of individual acoustic features is fundamental in social species, and more importantly in monogamous and territorial species, showing long-term fidelity both to the partner and the breeding site. In this study, the stability over time of two discrete vocal types was investigated in the African penguin (Spheniscus demersus), a monogamous and territorial seabird. Contact calls and ecstatic display songs were recorded from an ex situ colony in 2017 and in 2020. For each vocalisation, we measured 14 spectral and temporal acoustic parameters related to both source and filter components. Two separate leave-one-out cross-validated Discriminant Function Analyses (DFA) were then performed, generating the discriminant functions from the vocalisations collected in 2017 to classify those recorded in 2020. The DFA correctly classified 62% of the contact calls (10 subjects) and 80.9% of the ecstatic display songs (seven subjects) according to the correct emitter, showing that acoustic cues to individuality encoded in both vocal types remained unchanged over four consecutive breeding seasons. We suggest that, in this monogamous and territorial bird species, individual acoustic stability could be selected for to identify groupmates and neighbours over the years and to help couples to reunite in consecutive breeding seasons, increasing individual fitness.

Classification of Florida manatee (Trichechus manatus latirostris) vocalizations

The vocal repertoire for the Florida manatee is quantitatively categorized from a sample of 1114 calls recorded from 3 different manatee habitats in Florida. First, manatee vocalizations were categorized into five call categories based on visual inspection of spectrograms and following descriptions provided in previous studies. Second, based on measurements of 17 acoustic parameters, the subjective classification scheme was validated using classification and regression trees (CARTs) and model-based cluster analysis paired with silhouette coefficients. CART analysis revealed that these five broad call categories can be successfully distinguished based on correct classification scores of 41.6%-62.5%. Silhouette coefficients determined that the manatee vocal repertoire is highly intergraded. This study supports and expands upon existing subjective categorization schemes by providing a quantifiable methodology for describing the Florida manatees' vocal repertoire. These findings contribute to the increasing number of studies suggesting many animal species vocal repertoires contain graded call types.

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.

Song production by the North Pacific right whale, Eubalaena japonica

This paper describes song production by the eastern North Pacific right whale (NPRW, Eubalaena japonica) in the southeastern Bering Sea. Songs were localized in real-time to individuals using sonobuoys. Singers whose sex could be determined were all males. Autonomous recorder data from 17 year-long deployments were analyzed to document and characterize song types. Four distinct song types were documented over eight years (2009-2017) at five distinct locations. Each song type consists of a hierarchical structure of 1-3 different repeating phrases comprised predominantly of gunshot sounds; three of the four songs contained additional sound types (downsweep, moan, and low-frequency pulsive call). Songs were detected annually (July-January); all song types remained consistent over eight years. Two different songs often occurred simultaneously, produced by different individuals; the same song was never detected simultaneously at the same location. The same song type was detected on the same day and time at two distant locations, indicating multiple individuals can produce the same song. These findings provide support that males produce song; it remains unknown if females also sing. NPRW is the first right whale species documented to produce song. Based on current knowledge about song in mysticetes, it is hypothesized that these songs are reproductive displays.

Western North Atlantic humpback whale fall and spring acoustic repertoire: Insight into onset and cessation of singing behavior

Humpback whale songs have been described worldwide and studies exploring non-song vocal behavior continue to expand; however, studies on the transition periods when whales shift to and from the seasonal behavioral state of singing are lacking and may be potentially informative regarding the proximal factors controlling the onset and offset of humpback whale male singing. Acoustic recorders collected data off eastern Canada continuously from the Bay of Fundy in the fall of 2015 and near-continuously off northeast Nova Scotia in the spring of 2016. Humpback whale acoustic occurrence and behavior were identified by systematically reviewing a subset of acoustic recordings for presence before analyzing the highest quality recordings for behavior. The onset of singing in the fall was gradual over a period of about three weeks with an intermediate form, termed "song fragment," occurring prior to full songs. In comparison, singing in the spring seemed to end abruptly with few song fragments. Song fragments could be produced by juveniles learning to sing for the first time or mature males preparing for breeding activities prior to migrating to southern breeding grounds. The authors propose an alternative hypothesis that the timing and manner of transitions could be driven by physiological processes similar to those documented in songbirds.

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.

Some things never change: multi-decadal stability in humpback whale calling repertoire on Southeast Alaskan foraging grounds

Investigating long term trends in acoustic communication is essential for understanding the role of sound in social species. Humpback whales are an acoustically plastic species known for producing rapidly-evolving song and a suite of non-song vocalizations (“calls”) containing some call types that exhibit short-term stability. By comparing the earliest known acoustic recordings of humpback whales in Southeast Alaska (from the 1970’s) with recordings collected in the 1990’s, 2000’s, and 2010’s, we investigated the long-term repertoire stability of calls on Southeast Alaskan foraging grounds. Of the sixteen previously described humpback whale call types produced in Southeast Alaska, twelve were detected in both 1976 and 2012, indicating stability over a 36-year time period; eight call types were present in all four decades and every call type was present in at least three decades. We conclude that the conservation of call types at this temporal scale is indicative of multi-generational persistence and confirms that acoustic communication in humpback whales is comprised of some highly stable call elements in strong contrast to ever-changing song.

The communication space of humpback whale social sounds in wind-dominated noise

In animal social networks, a large acoustic communication space tends to involve complex networks. Signal masking may reduce this space, leading to detrimental effects on the animal's ability to obtain important social information. Humpback whales use acoustic social sounds (vocal sounds and surface-generated sounds from breaching or fin slapping) for within- and between-group communication. In this study, changes in various sound parameters (e.g., signal-above-noise and frequency content) of received humpback whale social sounds were statistically modeled against the combined effect of increasing wind-dominated noise and distance from the source (whale) to produce masking models. Behavioral data on vocalizing groups were also used to inform these models. The acoustic communication space, in this shallow water (<50 m) environment, extended to approximately 4 km from the signaler in median wind noise. However, the majority of behavioral interactions occurred within 2 km of the signaler. Surface-generated signals propagated better and likely function to maintain this space in higher wind noise. This study provides a basic wind-noise masking model for social communication signals in humpback whales which can be updated as more information on humpback auditory capabilities, and potential masking effects of anthropogenic noise sources, becomes available.

More of the same: allopatric humpback whale populations share acoustic repertoire

BACKGROUND

Humpback whales (Megaptera novaeangliae) are a widespread, vocal baleen whale best known for producing song, a complex, repetitive, geographically distinct acoustic signal sung by males, predominantly in a breeding context. Humpback whales worldwide also produce non-song vocalizations ("calls") throughout their migratory range, some of which are stable across generations.

METHODS

We looked for evidence that temporally stable call types are shared by two allopatric humpback whale populations while on their northern hemisphere foraging grounds in order to test the hypothesis that some calls, in strong contrast to song, are innate within the humpback whale acoustic repertoire.

RESULTS

Despite being geographically and genetically distinct populations, humpback whales in Southeast Alaska (North Pacific Ocean) share at least five call types with conspecifics in Massachusetts Bay (North Atlantic Ocean).

DISCUSSION

This study is the first to identify call types shared by allopatric populations, and provides evidence that some call types may be innate.

Source levels of foraging humpback whale calls

Humpback whales produce a wide range of low- to mid-frequency vocalizations throughout their migratory range. Non-song "calls" dominate this species' vocal repertoire while on high-latitude foraging grounds. The source levels of 426 humpback whale calls in four vocal classes were estimated using a four-element planar array deployed in Glacier Bay National Park and Preserve, Southeast Alaska. There was no significant difference in source levels between humpback whale vocal classes. The mean call source level was 137 dB_RMS re 1 μPa @ 1 m in the bandwidth of the call (range 113-157 dB_RMS re 1 μPa @ 1 m), where bandwidth is defined as the frequency range from the lowest to the highest frequency component of the call. These values represent a robust estimate of humpback whale source levels on foraging grounds and should append earlier estimates.

Using self-organizing maps to classify humpback whale song units and quantify their similarity

Classification of vocal signals can be undertaken using a wide variety of qualitative and quantitative techniques. Using east Australian humpback whale song from 2002 to 2014, a subset of vocal signals was acoustically measured and then classified using a Self-Organizing Map (SOM). The SOM created (1) an acoustic dictionary of units representing the song's repertoire, and (2) Cartesian distance measurements among all unit types (SOM nodes). Utilizing the SOM dictionary as a guide, additional song recordings from east Australia were rapidly (manually) transcribed. To assess the similarity in song sequences, the Cartesian distance output from the SOM was applied in Levenshtein distance similarity analyses as a weighting factor to better incorporate unit similarity in the calculation (previously a qualitative process). SOMs provide a more robust and repeatable means of categorizing acoustic signals along with a clear quantitative measurement of sound type similarity based on acoustic features. This method can be utilized for a wide variety of acoustic databases especially those containing very large datasets and can be applied across the vocalization research community to help address concerns surrounding inconsistency in manual classification.

Decadal-scale frequency shift of migrating bowhead whale calls in the shallow Beaufort Sea

Automated and manual acoustic localizations of bowhead whale calls in the Beaufort Sea were used to estimate the minimum frequency attained by their highly variable FM-modulated call repertoire during seven westerly fall migrations. Analyses of 13 355 manual and 100 009 automated call localizations found that between 2008 and 2014 the proportion of calls that dipped below 75 Hz increased from 27% to 41%, shifting the mean value of the minimum frequency distribution from 94 to 84 Hz. Multivariate regression analyses using both generalized linear models and generalized estimating equations found that this frequency shift persisted even when accounting for ten other factors, including calling depth, call range, call type, noise level, signal-to-noise ratio, local water depth (site), airgun activity, and call spatial density. No single call type was responsible for the observed shift, but so-called "complex" calls experienced larger percentage downward shifts. By contrast, the call source level distribution remained stable over the same period. The observed frequency shift also could not be explained by migration corridor shifts, relative changes in call detectability between different frequency bands, long-term degradation in the automated airgun detector, physiological growth in the population, or behavioral responses to increasing population density (estimated via call density).

The devil is in the detail: Quantifying vocal variation in a complex, multi-levelled, and rapidly evolving display

Identifying and quantifying variation in vocalizations is fundamental to advancing our understanding of processes such as speciation, sexual selection, and cultural evolution. The song of the humpback whale (Megaptera novaeangliae) presents an extreme example of complexity and cultural evolution. It is a long, hierarchically structured vocal display that undergoes constant evolutionary change. Obtaining robust metrics to quantify song variation at multiple scales (from a sound through to population variation across the seascape) is a substantial challenge. Here, the authors present a method to quantify song similarity at multiple levels within the hierarchy. To incorporate the complexity of these multiple levels, the calculation of similarity is weighted by measurements of sound units (lower levels within the display) to bridge the gap in information between upper and lower levels. Results demonstrate that the inclusion of weighting provides a more realistic and robust representation of song similarity at multiple levels within the display. This method permits robust quantification of cultural patterns and processes that will also contribute to the conservation management of endangered humpback whale populations, and is applicable to any hierarchically structured signal sequence.

Potential motivational information encoded within humpback whale non-song vocal sounds

Acoustic signals in terrestrial animals follow motivational-structural rules to inform receivers of the signaler's motivational state, valence and level of arousal. Low-frequency "harsh" signals are produced in aggressive contexts, whereas high-frequency tonal sounds are produced in fearful/appeasement contexts. Using the non-song social call catalogue of humpback whales (Megaptera novaeangliae), this study tested for potential motivational-structural rules within the call catalogue of a baleen whale species. A total of 32 groups within different social contexts (ranging from stable, low arousal groups, such as a female with her calf, to affiliating, higher arousal, groups containing multiple males competing for access to the central female) were visually and acoustically tracked as they migrated southwards along the eastern coast of Australia. Social calls separated into four main cluster types, with signal structures in two categories consistent with "aggressive" signals and, "fearful/appeasement" signals in terrestrial animals. The group's use of signals within these clusters matched their context in that presumed low arousal non-affiliating groups almost exclusively used "low-arousal" signals (a cluster of low frequency unmodulated or upsweep sounds). Affiliating groups used a higher proportion of an intermediate cluster of signal types deemed "higher arousal" signals and groups containing three or more adults used a higher proportion of "aggressive" signal types.

Quantitative classification of harbor seal breeding calls in Georgia Strait, Canada

During breeding season, male harbor seals (Phoca vitulina) produce underwater calls used in sexual competition and advertisement. Call characteristics vary among populations, and within-population differences are thought to represent individual variation. However, vocalizations have not been described for several populations of this widely-distributed and genetically diverse species. This study describes the vocal repertoire of harbor seals from British Columbia, Canada. Underwater recordings were made near Hornby Island during the summer of 2014 using a single hydrophone. A wide variability was detected in breeding vocalizations within this single breeding site. Four candidate call types were identified, containing six subtypes. Linear discriminant analysis showed 88% agreement with subjective classification of call types, and 74% agreement for call subtypes. Classification tree analysis gave a 92% agreement with candidate call types, with all splits made on the basis of call duration. Differences in duration may have reflected individual differences among seals. This study suggests that the vocal repertoire of harbor seals in this area comprises a vocal continuum rather than discrete call types. Further work with the ability to localize calls may help to determine whether this complexity represents variability due to propagation conditions, animal orientation, or differences among individual seals.

Changes in vocal parameters with social context in humpback whales: considering the effect of bystanders

Abstract

Many theories and communication models developed from terrestrial studies focus on a simple dyadic exchange between a sender and receiver. During social interactions, the “frequency code” hypothesis suggests that frequency characteristics of vocal signals can simultaneously encode for static signaler attributes (size or sex) and dynamic information, such as motivation or emotional state. However, the additional presence of a bystander may result in a change of signaling behavior if the costs and benefits associated with the presence of this bystander are different from that of a simple dyad. In this study, two common humpback whale social calls (“wops” and “grumbles”) were tested for differences related to group social behavior and the presence of bystanders. “Wop” parameters were stable with group social behavior, but were emitted at lower (14 dB) levels in the presence of a nearby singing whale compared to when a singing whale was not in the area. “Grumbles” were emitted at lower (30–39 Hz) fundamental frequencies in affiliative compared to non-affiliative groups and, in the presence of a nearby singing whale, were also emitted at lower (14 dB) levels. Vocal rates did not significantly change. The results suggest that, in humpbacks, the frequency in certain sound types relates to the social behavior of the vocalizing group, implying a frequency code system. The presence of a nearby audible bystander (a singing whale) had no effect on this frequency code, but by reducing their acoustic level, the signal-to-noise ratio at the singer would have been below 0, making it difficult for the singer to audibly detect the group.

Significance statement

The frequency, duration, and amplitude parameters of humpback whale social vocalizations were tested between different social contexts: group social behavior (affiliating versus non-affiliating), the presence of a nearby singing whale, and the presence of a nearby non-singing group. “Grumbles” (commonly heard low-frequency unmodulated sounds) frequencies were lower in affiliating groups compared to non-affiliating groups, suggesting a change in group motivation (such as levels of aggression). “Wop” (another common sound type) structure (frequency and duration) was similar in affiliating and non-affiliating groups. In the presence of an audible bystander (a singing whale), both sound types were emitted at similar rates, but much lower amplitudes (14 dB), vastly reducing the detectability of these sounds by the singer. This suggests that these groups were acoustically avoiding the singing whale. They did not, however, acoustically respond to the presence of a nearby non-singing group.

Beluga whale (Delphinapterus leucas) vocalizations and call classification from the eastern Beaufort Sea population

Beluga whales, Delphinapterus leucas, have a graded call system; call types exist on a continuum making classification challenging. A description of vocalizations from the eastern Beaufort Sea beluga population during its spring migration are presented here, using both a non-parametric classification tree analysis (CART), and a Random Forest analysis. Twelve frequency and duration measurements were made on 1019 calls recorded over 14 days off Icy Cape, Alaska, resulting in 34 identifiable call types with 83% agreement in classification for both CART and Random Forest analyses. This high level of agreement in classification, with an initial subjective classification of calls into 36 categories, demonstrates that the methods applied here provide a quantitative analysis of a graded call dataset. Further, as calls cannot be attributed to individuals using single sensor passive acoustic monitoring efforts, these methods provide a comprehensive analysis of data where the influence of pseudo-replication of calls from individuals is unknown. This study is the first to describe the vocal repertoire of a beluga population using a robust and repeatable methodology. A baseline eastern Beaufort Sea beluga population repertoire is presented here, against which the call repertoire of other seasonally sympatric Alaskan beluga populations can be compared.

Non-song social call bouts of migrating humpback whales

The use of stereotyped calls within structured bouts has been described for a number of species and may increase the information potential of call repertoires. Humpback whales produce a repertoire of social calls, although little is known about the complexity or function of these calls. In this study, digital acoustic tag recordings were used to investigate social call use within bouts, the use of bouts across different social contexts, and whether particular call type combinations were favored. Call order within bouts was investigated using call transition frequencies and information theory techniques. Call bouts were defined through analysis of inter-call intervals, as any calls within 3.9 s of each other. Bouts were produced significantly more when new whales joined a group compared to groups that did not change membership, and in groups containing multiple adults escorting a female and calf compared to adult only groups. Although social calls tended to be produced in bouts, there were few repeated bout types. However, the order in which most call types were produced within bouts was non-random and dependent on the preceding call type. These bouts appear to be at least partially governed by rules for how individual components are combined.

Repertoire and classification of non-song calls in Southeast Alaskan humpback whales (Megaptera novaeangliae)

On low-latitude breeding grounds, humpback whales produce complex and highly stereotyped songs as well as a range of non-song sounds associated with breeding behaviors. While on their Southeast Alaskan foraging grounds, humpback whales produce a range of previously unclassified non-song vocalizations. This study investigates the vocal repertoire of Southeast Alaskan humpback whales from a sample of 299 non-song vocalizations collected over a 3-month period on foraging grounds in Frederick Sound, Southeast Alaska. Three classification systems were used, including aural spectrogram analysis, statistical cluster analysis, and discriminant function analysis, to describe and classify vocalizations. A hierarchical acoustic structure was identified; vocalizations were classified into 16 individual call types nested within four vocal classes. The combined classification method shows promise for identifying variability in call stereotypy between vocal groupings and is recommended for future classification of broad vocal repertoires.