Although the songs of humpback whales have been extensively studied, other vocalizations and percussive sounds, referred to as "social sounds," have received little attention. This study presents the social vocalization repertoire of migrating east Australian humpback whales from a sample of 660 sounds recorded from 61 groups of varying composition, over three years. The social vocalization repertoire of humpback whales was much larger than previously described with a total of 34 separate call types classified aurally and by spectrographic analysis as well as statistically. Of these, 21 call types were the same as units of the song current at the time of recording but used individually instead of as part of the song sequence, while the other 13 calls were stable over the three years of the study and were not part of the song. This study provides a catalog of sounds that can be used as a basis for future studies. It is an essential first step in determining the function, contextual use and cultural transmission of humpback social vocalizations.

Humpback whales are renowned for the complex structured songs produced by males. A second, relatively understudied area of humpback acoustic communication concerns un‐patterned sounds known as “social sounds,” produced by both males and females. These include vocalizations as well as sounds produced at the surface of the water as a result of surface behaviors (e.g., breaching, pectoral slapping). This study describes a portion of the non‐song social sound repertoire of southward migrating humpbacks in Australian waters, and explores the social relevance of these sounds. On migration, humpback whales travel in social groups of varying compositions. These social groups are not stable in that humpback whales continually change group composition by splitting from, or joining with, other groups. The results of this study suggest that “breaching” and “slapping” have a communicative function. Other sounds such as “underwater blows” and “cries” were heard mainly in competitive groups while other low‐frequency sounds such as “grumbles,”“snorts,”“thwops,” and “wops” may function in intra‐ or inter‐group communication. Particular sounds (“grunts,”“groans,” and “barks”) were almost exclusive to joining pods suggesting a role in social integration. Social sounds in humpbacks may have specific social and behavioral functions relating to social group composition, and the mediation of interactions between these social groups.

Quantifying the stability of a species vocal repertoire is fundamental for further investigations into repertoire function and geographic variation. Changes to the repertoire of sounds used in the song displays of male humpback whales have been well studied. In contrast, little is known about the stability of this species' non-song vocal calls. The stability of the social call repertoire of east Australian humpback whales was investigated from 1997, 2003-2004, and 2008. Out of 46 qualitatively defined call types, 19 were classified as "song-unit calls" that tended to change with the song, and 15 were "inconsistent" and only found in one or two years. Twelve call types were "stable" and present in all years and were commonly produced (64.2% of calls). Stable calls tended to vary in some of the measured call parameters but there was no clear trend between years. This result could indicate that minor changes to calls are not permanent, but reflect individual differences in call production or the graded nature of calls within different social environments. This research has clearly identified stable calls in the call repertoire of humpback whales and while their function is not well understood, their stability suggests an important role in social interactions.

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Much evidence for non-human culture comes from vocally learned displays, such as the vocal dialects and song displays of birds and cetaceans. While many oscine birds use song complexity to assess male fitness, the role of complexity in humpback whale ( Megaptera novaeangliae ) song is uncertain owing to population-wide conformity to one song pattern. Although songs change gradually each year, the eastern Australian population also completely replaces their song every few years in cultural ‘revolutions’. Revolutions involve learning large amounts of novel material introduced from the Western Australian population. We examined two measures of song structure, complexity and entropy, in the eastern Australian population over 13 consecutive years. These measures aimed to identify the role of complexity and information content in the vocal learning processes of humpback whales. Complexity was quantified at two hierarchical levels: the entire sequence of individual sound ‘units’ and the stereotyped arrangements of units which comprise a ‘theme’. Complexity increased as songs evolved over time but decreased when revolutions occurred. No correlation between complexity and entropy estimates suggests that changes to complexity may represent embellishment to the song which could allow males to stand out amidst population-wide conformity. The consistent reduction in complexity during song revolutions suggests a potential limit to the social learning capacity of novel material in humpback whales.