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.
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  pp. 51–59).
Above, an Afghan dove with a friend; below, feeding the doves in Mazār-i-Sharīf.
Along with its wide-ranging discussions of theoretical topics, the 1650 treatise Musurgia universalisby 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).
The main entrance to the New York Public Library for the Performing Arts’s exhibition Lou Reed: Caught between the twisted stars opens up on Lincoln Plaza, directly adjacent to the The Metropolitan Opera house. On a sunny day, the Met’s … Continue reading →
Seven strings/Сім струн (dedicated to Uncle Michael)* For thee, O Ukraine, O our mother unfortunate, bound, The first string I touch is for thee. The string will vibrate with a quiet yet deep solemn sound, The song from my heart … Continue reading →
Introduction: Dr. Philip Ewell, Associate Professor of Music at Hunter College and the Graduate Center of the City University of New York, posted a series of daily tweets during Black History Month (February 2021) providing information on some under-researched Black … Continue reading →
For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The … Continue reading →