The development of sex differences in song in a tropical duetting wren

The study of song development has focused on temperate zone birds in which typically only males sing. In the bay wren, Cantorchilus nigricapillus, both sexes sing, performing precisely timed, female-initiated duets in which birds alternate sex-specific song phrases. We investigated the development of these sex differences by collecting bay wren eggs and nestlings, and hand-raising them in individual acoustic isolation chambers. Each bird was tutored with either monophonic or stereophonic recordings of bay wren duets or heard no song. As adults, each tutored bird sang repertoires of complete duets, singing both male and female phrases. In addition, some birds sang only the male or female part of some duets to which they were exposed. Mono-tutored birds showed no sex-specificity in these solo songs, whereas stereo-tutored birds only sang solos consistent with their sex. In addition, stereo-tutored birds acquired songs over a longer period than did mono-tutored birds, and stereo-tutored females showed more sex-specificity than did males during early song production. Finally, we observed that tutored and acoustically isolated birds of both sexes invented male-like songs, whereas only males invent songs in the wild. These results reveal the relative roles of environmental versus innate influences in the development of sex-specific song in this species.

Song Preference in Female and Juvenile Songbirds: Proximate and Ultimate Questions

Birdsong has long been a subject of extensive research in the fields of ethology as well as neuroscience. Neural and behavioral mechanisms underlying song acquisition and production in male songbirds are particularly well studied, mainly because birdsong shares some important features with human speech such as critical dependence on vocal learning. However, birdsong, like human speech, primarily functions as communication signals. The mechanisms of song perception and recognition should also be investigated to attain a deeper understanding of the nature of complex vocal signals. Although relatively less attention has been paid to song receivers compared to signalers, recent studies on female songbirds have begun to reveal the neural basis of song preference. Moreover, there are other studies of song preference in juvenile birds which suggest possible functions of preference in social context including the sensory phase of song learning. Understanding the behavioral and neural mechanisms underlying the formation, maintenance, expression, and alteration of such song preference in birds will potentially give insight into the mechanisms of speech communication in humans. To pursue this line of research, however, it is necessary to understand current methodological challenges in defining and measuring song preference. In addition, consideration of ultimate questions can also be important for laboratory researchers in designing experiments and interpreting results. Here we summarize the current understanding of song preference in female and juvenile songbirds in the context of Tinbergen's four questions, incorporating results ranging from ethological field research to the latest neuroscience findings. We also discuss problems and remaining questions in this field and suggest some possible solutions and future directions.

Variation in vocal production learning across songbirds

Songbirds as a whole are considered to be vocal production learners, meaning that they modify the structure of their vocalizations as a result of experience with the vocalizations of others. The more than 4000 species of songbirds, however, vary greatly in crucial features of song development. Variable features include: (i) the normality of the songs of early-deafened birds, reflecting the importance of innate motor programmes in song development; (ii) the normality of the songs of isolation-reared birds, reflecting the combined importance of innate auditory templates and motor programmes; (iii) the degree of selectivity in choice of external models; (iv) the accuracy of copying from external models; and (v) whether or not learning from external models continues into adulthood. We suggest that because of this variability, some songbird species, specifically those that are able to develop songs in the normal range without exposure to external models, can be classified as limited vocal learners. Those species that require exposure to external models to develop songs in the normal range can be considered complex vocal learners. This article is part of the theme issue 'Vocal learning in animals and humans'.

Uncovering a 'sensitive window' of multisensory and motor neuroplasticity in the cerebrum and cerebellum of male and female starlings

Traditionally, research unraveling seasonal neuroplasticity in songbirds has focused on the male song control system and testosterone. We longitudinally monitored the song behavior and neuroplasticity in male and female starlings during multiple photoperiods using Diffusion Tensor and Fixel-Based techniques. These exploratory data-driven whole-brain methods resulted in a population-based tractogram confirming microstructural sexual dimorphisms in the song control system. Furthermore, male brains showed hemispheric asymmetries in the pallium, whereas females had higher interhemispheric connectivity, which could not be attributed to brain size differences. Only females with large brains sing but differ from males in their song behavior by showing involvement of the hippocampus. Both sexes experienced multisensory neuroplasticity in the song control, auditory and visual system, and cerebellum, mainly during the photosensitive period. This period with low gonadal hormone levels might represent a 'sensitive window' during which different sensory and motor systems in the cerebrum and cerebellum can be seasonally re-shaped in both sexes.

Avian vocalisations: the female perspective

Research on avian vocalisations has traditionally focused on male song produced by oscine passerines. However, accumulating evidence indicates that complex vocalisations can readily evolve outside the traditional contexts of mate attraction and territory defence by male birds, and yet the previous bias towards male song has shaped - and continues to shape - our understanding of avian communication as a whole. Accordingly, in this review we seek to address this imbalance by synthesising studies on female vocalisations from across signalling contexts throughout the Aves, and discuss the implications of recent empirical advances for our understanding of vocalisations in both sexes. This review reveals great structural and functional diversity among female vocalisations and highlights the important roles that vocalisations can play in mediating female-specific behaviours. However, fundamental gaps remain. While there are now several case studies that identify the function of female vocalisations, few quantify the associated fitness benefits. Additionally, very little is known about the role of vocal learning in the development of female vocalisations. Thus, there remains a pressing need to examine the function and development of all forms of vocalisations in female birds. In the light of what we now know about the functions and mechanisms of female vocalisations, we suggest that conventional male-biased definitions of songs and calls are inadequate for furthering our understanding of avian vocal communication more generally. Therefore, we propose two simple alternatives, both emancipated from the sex of the singer. The first distinguishes song from calls functionally as a sexually selected vocal signal, whilst the second distinguishes them mechanistically in terms of their underlying neurological processes. It is clear that more investigations are needed into the ultimate and proximate causes of female vocalisations; however, these are essential if we are to develop a holistic epistemology of avian vocal communication in both sexes, across ecological contexts and taxonomic divides.