The Sonar Model for Humpback Whale Song Revised

Multimodal imitative learning and synchrony in cetaceans: A model for speech and singing evolution

Multimodal imitation of actions, gestures and vocal production is a hallmark of the evolution of human communication, as both, vocal learning and visual-gestural imitation, were crucial factors that facilitated the evolution of speech and singing. Comparative evidence has revealed that humans are an odd case in this respect, as the case for multimodal imitation is barely documented in non-human animals. While there is evidence of vocal learning in birds and in mammals like bats, elephants and marine mammals, evidence in both domains, vocal and gestural, exists for two Psittacine birds (budgerigars and grey parrots) and cetaceans only. Moreover, it draws attention to the apparent absence of vocal imitation (with just a few cases reported for vocal fold control in an orangutan and a gorilla and a prolonged development of vocal plasticity in marmosets) and even for imitation of intransitive actions (not object related) in monkeys and apes in the wild. Even after training, the evidence for productive or "true imitation" (copy of a novel behavior, i.e., not pre-existent in the observer's behavioral repertoire) in both domains is scarce. Here we review the evidence of multimodal imitation in cetaceans, one of the few living mammalian species that have been reported to display multimodal imitative learning besides humans, and their role in sociality, communication and group cultures. We propose that cetacean multimodal imitation was acquired in parallel with the evolution and development of behavioral synchrony and multimodal organization of sensorimotor information, supporting volitional motor control of their vocal system and audio-echoic-visual voices, body posture and movement integration.

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.

Cognitive control of song production by humpback whales

Singing humpback whales are highly versatile vocalizers, producing complex sequences of sounds that they vary throughout adulthood. Past analyses of humpback whale song have emphasized yearly variations in structural features of songs made collectively by singers within a population with comparatively little attention given to the ways that individual singers vary consecutive songs. As a result, many researchers describe singing by humpback whales as a process in which singers produce sequences of repeating sound patterns. Here, we show that such characterizations misrepresent the degree to which humpback whales flexibly and dynamically control the production of sounds and sound patterns within song sessions. Singers recorded off the coast of Hawaii continuously morphed units along multiple acoustic dimensions, with the degree and direction of morphing varying across parallel streams of successive units. Individual singers also produced multiple phrase variants (structurally similar, but acoustically distinctive sequences) within song sessions. The precision with which individual singers maintained some acoustic properties of phrases and morphing trajectories while flexibly changing others suggests that singing humpback whales actively select and adjust acoustic elements of their songs in real time rather than simply repeating stereotyped sound patterns within song sessions.

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.

Spectral interleaving by singing humpback whales: Signs of sonar

The duplex sonar model of humpback whale song proposes that broadband units within songs function differently from narrowband units. Specifically, this model suggests that singing humpback whales interleave constant frequency (CF) units, which can generate prolonged reverberation focused at specific frequencies, with less reverberant broadband units that minimally overlap with the focal frequencies of preceding and following CF units (referred to as spectral interleaving) to increase the efficacy of song as a sonar source. Here, it is shown that singers recorded off the coast of Hawaii in 2015 devoted most of their time singing to spectrally interleaving broadband elements of units around quasi-CF components that consistently generated persistent reverberant tails. Singers maintained reverberant CF streams in specific frequency bands when units contained broadband elements and when singers switched from producing pairs of alternating reverberant units to producing a single reverberant unit. Additionally, singers showed the ability to flexibly control where acoustic energy was concentrated within broadband components in ways that minimized spectral overlap with the focal frequencies of reverberant tails. The consistency and precision with which singing humpback whales interleaved broadband and reverberant CF elements of units confirm two novel predictions of the duplex sonar model.

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.

Humpback whale song occurrence reflects ecosystem variability in feeding and migratory habitat of the northeast Pacific

This study examines the occurrence of humpback whale (Megaptera novaeangliae) song in the northeast Pacific from three years of continuous recordings off central California (36.713°N, 122.186°W). Song is prevalent in this feeding and migratory habitat, spanning nine months of the year (September-May), peaking in winter (November-January), and reaching a maximum of 86% temporal coverage (during November 2017). From the rise of song in fall through the end of peak occurrence in winter, song length increases significantly from month to month. The seasonal peak in song coincides with the seasonal trough in day length and sighting-based evidence of whales leaving Monterey Bay, consistent with seasonal migration. During the seasonal song peak, diel variation shows maximum occurrence at night (69% of the time), decreasing during dawn and dusk (52%), and further decreasing with increasing solar elevation during the day, reaching a minimum near solar noon (30%). Song occurrence increased 44% and 55% between successive years. Sighting data within the acoustic detection range of the hydrophone indicate that variation in local population density was an unlikely cause of this large interannual variation. Hydrographic data and modeling of acoustic transmission indicate that changes in neither habitat occupancy nor acoustic transmission were probable causes. Conversely, the positive interannual trend in song paralleled major ecosystem variations, including similarly large positive trends in wind-driven upwelling, primary productivity, and krill abundance. Further, the lowest song occurrence during the first year coincided with anomalously warm ocean temperatures and an extremely toxic harmful algal bloom that affected whales and other marine mammals in the region. These major ecosystem variations may have influenced the health and behavior of humpback whales during the study period.

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.