CONSEQUENCES OF DOMESTICATION ON THE SONG STRUCTURES IN THE CANARY
CONSEQUENCES OF DOMESTICATION ON THE SONG STRUCTURES IN THE CANARY
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DOI：
10.1163/156853985x00226
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发表时间：
1985-01-01
期刊：
影响因子：
1.3
通讯作者：
GUTTINGER, HR
中科院分区：
文献类型：
--
作者：
GUTTINGER, HR
本研究探讨鸟鸣声的组织与详细的声学形态，探讨驯化对行为的影响。研究了野生金丝雀和不同驯化品系金丝雀的鸣叫声。这些包括边境金丝雀，在英国饲养的外观和歌曲金丝雀，在德国选择的歌曲质量。发展歌曲结构的基本规则，包括将个人学习的话语组装成歌曲的规则，是在没有任何听觉或反馈刺激的情况下通过自我分化出现的。相比之下，音符的精细结构是由个人学习形成的。对野生金丝雀和不同家养品种的歌声进行比较，揭示了选择性繁殖如何改变行为程序和习得音符的一般声学形态。比较结果如下：1.所有的金丝雀都按照相同的程序唱短句。单个话语的时间模式非常相似。2.数量上的差异被发现在比例的单音符和颤音序列或图尔斯：单音符复合物占主导地位的野生金丝雀的歌曲，而在驯化的品种图尔斯形式的大部分歌曲。这种数量上的差异是造成我们耳朵对歌曲的强烈对比印象的原因，这些歌曲在野生形式中是高度可变的，而在驯化的歌曲金丝雀中则是非常刻板的。金丝雀饲养者强烈选择相同话语的较长重复（图尔斯的持续时间）。边境金丝雀，这不是选择这个特点唱短期图尔斯，更类似于野生同种比歌金丝雀。3.低沉的歌声受到鸟类爱好者的高度推崇。金丝雀使用的最大频率远低于野生鸟类使用的频率。4.人们可以用耳朵分辨出大约十个主要的音节类别，它们在几乎每一个单独的剧目中重复出现。这种分类是基于其声学特性的差异。为了评估个人学习在几个可预测的总体类别中高度引导的主观印象，已经开发了一种可重复的方法来定义这些普遍类别：通过使用特定歌曲特征的二分法键来分析Sonagram上描绘的个人曲目，并将其分为31类：使用音节类别的频率与完全不同的歌曲曲目的个人是惊人的相似：一些类是高度代表性，而其他的代表性不足。因此，野生和驯养的金丝雀根据一系列相似的特征形成了它们各自的剧目。因此，一般声学形态学中的物种特异性是基于连接音符可变成分的规则。个性是单个成分的属性，例如频率调制模式和顺序模式。我们可以证明，在漫长的驯化过程中，一般的声学形态一直保持着极其稳定的状态。学习过程似乎仅限于有限的音符成分组合。只有少数音节的特征似乎被驯化改变了：例如，粗糙的音节几乎被淘汰，而非常短的音节（低于50毫秒）变得更加频繁。
This study on the organization and detailed acoustic morphology of birdsong deals with the implication of domestication upon behaviour. The songs of wild canaries (Serinus canaria) and different domesticated strains of canary were studied. These included border canaries, bred for appearance in Britain and song canaries, selected for song quality in Germany. The basic rules for developing song architecture, involving rules for assembling individually learned utterances into songs emerge by self-differentiation without any auditory of feedback stimuli. By contrast, the fine structure of notes is shaped by individual learning. A comparison of songs of wild canaries and of different domesticated breeds reveals how selective breeding can alter the behavioural programmes and the general acoustic morphology of learned notes. The results of this comparison can be summarized as follows: 1. All canaries sing phrases according to an identical programme. The temporal patterning of single utterances is very similar. 2. Quantitative differences are found in the proportion of single notes and trilled sequences or tours: Single note complexes are dominant in wild canary song, whereas in the domesticated breeds tours form the bulk of the songs. This quantitative difference is responsible for a highly contrasting impression to our ears of songs that are highly variable in the wild form, and very stereotyped in domesticated song canaries. Canary breeders select strongly for longer repetitions of identical utterances (duration of tours). Border canaries, which are not selected for this trait sing short tours, far more similar to the wild conspecifics than to the song canaries. 3. Low-pitched songs are highly esteemed by bird fanciers. The maximum frequency used by song canaries is much lower than that used by wild birds. 4. One can distinguish by ear approximately ten main syllable-categories, which recur in nearly every individual repertoire. This categorization is based on differences in their acoustic properties. To assess the subjective impression that individual learning is highly channeled in a few predictable overall categories, a reproducible method to define these universal categories has been developed: Individual repertoires depicted on sonagrams were analysed by using a dichotomous key of specific song characteristics and divided into 31 classes: The frequency of use of the syllable categories by individuals with totally different song repertoires was surprisingly similar: Some classes are highly overrepresented, whereas others are underrepresented. Thus wild and domesticated canaries form their individual repertoires according a similar array of characteristics. Thus species-specificity in the general acoustic morphology is based on rules for linking variable components of notes. Individuality is an attribute of single components, such as the pattern of frequency modulation and sequential patterning. One can demonstrate that the general acoustic morphology has remained astonishingly stable during the long process of domestication. The learning process seems to be restricted to a limited set of combinations of note components. Only a few characteristics of syllables appear to have been changed by domestication: e.g. rough syllables have nearly been eliminated, whereas very short syllables (below 50 ms) have become far more frequent.