International audiencePlayback experiments on individuals singing near their nest show that starlings tend to repeat the theme they have just heard even if it is an unfamiliar dialect and not ‘programmed’ in their own current sequence. The type of response and its temporal characteristics could be related to internal sequential organization rules. Moreover, starlings discriminate between two dialectal variants of a given theme and respond more often and more quickly to the familiar dialect. A social influence on the choice of theme by the individual can also be observed in foraging flocks and roosts where song is frequently given. Observation of such groups reveal that one theme predominates on each given occasion and that it depends on the number of individuals present and on the type of group (flock or roost). This is probably a function of the tendency to match. Previous observations of flights toward the roost showed that birds originating from different dialectal areas congregate in such groups. A few analyses of songs in flocks and roosts confirm the presence of different dialects simultaneously

Male starlings sing two very different categories of song: whistles and warbles. The present study describes the structure and the organization of warbling song in individuals from varied geographical origins. In all cases, warbling is shown to be an extremely complex song in which there is much contrast: very different notes follow each other and are even superimposed. Higher levels of organizations are present: notes are grouped in repeating units, the motifs, each of which is sung in bouts of 1 to 12 repetitions, and finally these bouts show a clear sequential organization. A certain amount of variability occurs at each of these levels: slight variations are seen from one rendition of a given motif to the next; the number of repetitions of each motif varies from one song sequence to another and the sequential organization of bouts seems to be able to vary seasonally. All these characteristics were found in all individuals. Nevertheless, warbling appears to be an essentially individual song. Beyond two or three species-specific motifs, the others in the repertoire are individually characteristic. The beginnings and endings of the songs are clearly defined commencing usually with an individual motif whilst ending with a species-specific motif. We observed marked differences between individuals in repertoire size, extending from about 20 to more than 35 different motifs. This is the only measure of the repertoire that we have been able to define for this continuous song.

International audienceObservations were made over two years in a small colony of starlings to look at possible changes in the songs of each male, taking into account its life-history and breeding status. Each male sings two categories of song: warbling, a long, complex and mainly individual song, and loud and simple whistles. Within the latter, some are species-specific whereas others characterize the individual in its colony. Over two years very few changes were observed for the species-specific whistle themes and all birds shared the same variant. But the birds changed their individual whistle types almost completely from one year to the next. Changes in warbling song may depend on age: one bird changed his repertoire of motifs completely between his first and second year of life, whereas other older males merely added some new motifs to their repertoire of the previous year. Such results show that adult starlings in the wild, even older birds (7 years old), may still be able to acquire new structures. The new elements appeared in the fall and were kept at least until the following breeding season. All songs were very stable throughout a given breeding season. Although individual repertoires increased with age, large differences in repertoire size were found in same age individuals. First data suggest that breeding status (e.g. polygyny) and repertoire size may be related

Observations of European starlings in France, Germany and Australia reveal surprising high similarities in the individual repertoires of whistled songs. The structure of the whistles enabled us to recognize a number of categories, in which some species-specific themes were found everywhere. They appear with the same general characteristics and variation ranges in all populations.There seems therefore to be a basic species-specific repertoire common to all males, who have also a number of additional individual themes which characterize each male in its colony. These individual themes show also common characteristics in the different populations. The results suggest that a mechanism has evolved which canalizes the patterns to be learned. The existence of such a universal innate species-specific repertoire has also to be related to functional aspects and to the complicated dialects found in this species.