Tag Archives: Bird song

Ecoacoustics and birdsong recording

Advancements in technology have facilitated diverse research strategies in ecoacoustics (or acoustic ecology), algorithmic sound recognition, and aesthetic approaches, with significant scientific and technological applications. These developments have opened new avenues for studying the relationship between humans and their environment through sound. Portable ambisonic recorders, capable of capturing sound trajectories in a 360° sphere, have proven valuable for surround sound systems, as they accurately reproduce the acoustic environment’s spatial characteristics. This technology allows for faithful representation of the sound emitter’s unique qualities, movement patterns, and the reverberant properties of the environment. As a result, soundscape research intersects with multiple disciplines, including robotic listening, census strategies, acoustics, and algorithmic classification of fauna. Moreover, soundscape studies have increasingly contributed to environmental conservation efforts by informing strategies to mitigate the impact of human activities on natural ecosystems.

Ambisonic microphones

These technological advancements have facilitated the development of diverse strategies and mechanisms, ranging from traditional audio capture techniques to interactive systems that enable communication between humans and other species through sound. In all cases, soundscape studies provide valuable insights into how human activities impact the environment. This includes analyzing the effects of land and air traffic, power lines that generate electromagnetic fields, and other anthropogenic factors. By interpreting such interactions, soundscape research deepens our understanding of ecological disruptions and contributes to the development of strategies for minimizing human-induced environmental disturbances.

Algorithmic recognition plays a crucial role in identifying and classifying bird vocalizations. In ornithology, specialists undergo extensive training to recognize bird species and their songs based on region or mating season–a process that is time-consuming and requires significant expertise. To streamline this task, applications capable of recognizing and categorizing birdsong have been developed, enhancing efficiency and accuracy. The study of soundscapes has further contributed to refining algorithmic recognition strategies for cataloging wildlife within specific environments. A notable example is the Raven software, developed by Cornell University’s Center for Conservation Bioacoustics, which can analyze audio recordings to identify and classify numerous bird species. This technology has proven invaluable for tracking and documenting avian populations across different regions. As these systems continue to evolve, there is significant potential for further advancements, making automated bioacoustic analysis an increasingly powerful tool in ecological research and conservation.

This according to “Paisaje sonoro: Creatividad interdisciplinaria y tecnologías aplicadas para el registro del canto de las aves” [Soundscape: Interdisciplinary creativity and applied technologies for the recording of birdsong] by Pablo Rubio Vargas and Jorge Rodrigo Sigal Sefchovich (ANTEC: Revista peruana de investigación musical 8/2 [2024] 170–183; RILM Abstracts of Music Literature, 2024-13931).

Click the link below to watch a video titled Empowering bioacoustics research in Southeast Asia, which explains efforts at the Center for Conservation Bioacoustics to create biacoustic networks across the region.

https://www.birds.cornell.edu/ccb/empowering-bioacoustics-research-in-southeast-asia/

Related Bibliolore posts:

https://bibliolore.org/2018/05/21/angelic-bird-musicians/

https://bibliolore.org/2014/11/13/afghan-perceptions-of-birdsong/

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Filed under Acoustics, Science, Sound

Avian music culture

The vocalizations of the pied butcherbird (Cracticus nigrogularis) include calls (e.g., food begging [above], alarms, cat scolding), calls incorporated into songs, and pure songs. The latter category may include melismas, ostinatos, transpositions, inversions, variations, and rhythmic effects such as additive and divisive patterns.

Cultural manifestations include duets, antiphonal and canonic effects, and unisons. They also mimic other birds and unexpected sources such as dogs, cats, humans, and machines.

This according to “Decoding the song of the pied butcherbird: An initial survey” by Hollis Taylor (TRANS: Revista transcultural de música/Transcultural music review XII [July 2008]; RILM Abstracts of Music Literature 2008-12677).

Below, a pied butcherbird duet followed by a solo.

More articles about birds are here.

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Afghan perceptions of birdsong

afghan dove

The importance of birds and bird song in Afghan culture is embedded in Afghanistan’s two official languages—Dari and Pashto—in which the nightingale, a central poetic symbol, occurs in texts sung by urban and rural singers.

The songs of particular birds are associated with calls to prayer, and mullahs confirm that birdsong is regarded within Sufism as a form of religious singing; birds are welcomed at Sufi shrines, where feeding them is considered an act of piety.

Sometimes caged birds are brought to musical performances in Herāt, and when they are stirred to sing by hearing music their sounds are heard as an integral and treasured part of the performance.

This according to “Afghan perceptions of birdsong” by John Baily (The world of music XXXIX/2 [1997] pp. 51–59).

Above, an Afghan dove with a friend; below, a nightingale competition in Afghanistan.

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Baroque birdsong

Along with its wide-ranging discussions of theoretical topics, the 1650 treatise Musurgia universalis by the German Jesuit polymath Athanasius Kircher (1602–1680) includes what may be the first transcriptions of bird songs.

The illustration gives the nightingale’s song followed by those of the chicken, the cuckoo, the quail, and the parrot; the latter says χαίρε (“hello”). Vox cuculi is notated as the familiar falling minor third heard in cuckoo clocks (see below).

A facsimile edition of the treatise has been issued by Georg Olms (Hildesheim, 1970; reprinted 2006).

Related article: Athanasias Kircher’s global reach

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