The human capacity for speech and vocal music depends on vocal imitation. Songbirds, in contrast to non-human primates, share this vocal production learning with humans. The process through which birds and humans learn many of their vocalizations as well as the underlying neural system exhibit a number of striking parallels and have been widely researched. In contrast, rhythm, a key feature of language, and music, has received surprisingly little attention in songbirds. Investigating temporal periodicity in bird song has the potential to inform the relationship between neural mechanisms and behavioral output and can also provide insight into the biology and evolution of musicality. Here we present a method to analyze birdsong for an underlying rhythmic regularity. Using the intervals from one note onset to the next as input, we found for each bird an isochronous sequence of time stamps, a “signal-derived pulse,” or pulseS, of which a subset aligned with all note onsets of the bird's song. Fourier analysis corroborated these results. To determine whether this finding was just a byproduct of the duration of notes and intervals typical for zebra finches but not dependent on the individual duration of elements and the sequence in which they are sung, we compared natural songs to models of artificial songs. Note onsets of natural song deviated from the pulseS significantly less than those of artificial songs with randomized note and gap durations. Thus, male zebra finch song has the regularity required for a listener to extract a perceived pulse (pulseP), as yet untested. Strikingly, in our study, pulsesS that best fit note onsets often also coincided with the transitions between sub-note elements within complex notes, corresponding to neuromuscular gestures. Gesture durations often equaled one or more pulseS periods. This suggests that gesture duration constitutes the basic element of the temporal hierarchy of zebra finch song rhythm, an interesting parallel to the hierarchically structured components of regular rhythms in human music.

Humans draw maps when communicating about places or verbally describe routes between locations. Honeybees communicate places by encoding distance and direction in their waggle dances. Controversy exists not only about the structure of spatial memory but also about the efficiency of dance communication. Some of these uncertainties were resolved by studies in which recruits' flights were monitored using harmonic radar. We asked whether the two sources of vector information--the previously learned flight vector to a food source and the communicated vector--are represented in a common frame of spatial reference. We found that recruits redirect their outbound flights and perform novel shortcut flights between the communicated and learned locations in both directions. Guidance by beacons at the respective locations or by the panorama of the horizon was excluded. These findings indicate a spatial reference based on either large-scale vector integration or a common geocentric map-like spatial memory. Both models predict a memory structure that stores the spatial layout in such a way that decisions are made according to estimated distances and directions. The models differ with respect to the role of landmarks and the time of learning of spatial relations.

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Research on the evolution of human speech and phonology benefits from the comparative approach: structural, spectral, and temporal features can be extracted and compared across species in an attempt to reconstruct the evolutionary history of human speech. Here we focus on analytical tools to measure and compare temporal structure in human speech and animal vocalizations. We introduce the reader to a range of statistical methods usable, on the one hand, to quantify rhythmic complexity in single vocalizations, and on the other hand, to compare rhythmic structure between multiple vocalizations. These methods include: time series analysis, distributional measures, variability metrics, Fourier transform, auto-and cross-correlation, phase portraits, and circular statistics. Using computer-generated data, we apply a range of techniques, walking the reader through the necessary software and its functions. We describe which techniques are most appropriate to test particular hypotheses on rhythmic structure, and provide possible interpretations of the tests. These techniques can be equally well applied to find rhythmic structure in gesture, movement, and any other behavior developing over time, when the research focus lies on its temporal structure. This introduction to quantitative techniques for rhythm and timing analysis will hopefully spur additional comparative research, and will produce comparable results across all disciplines working on the evolution of speech, ultimately advancing the field.

Degen et al. used a special radar system to track bees in flight. They displaced bees after a single orientation flight into either the explored or the unexplored area. Homing flights were faster and straighter if bees were released within the explored area. The authors conclude that bees used the ground structure for homeward guidance.