Classifying acoustic units is often a key step in studying repertoires and sequence structure in animal communication. Manual classification by eye and ear remains the primary method, but new tools and techniques are urgently needed to expedite the process for large, diverse datasets. Here we introduce Koe, an application for classifying and analysing animal vocalizations. Koe offers bulk‐labelling of units via interactive ordination plots and unit tables, as well as visualization and playback, segmentation, measurement, data filtering/exporting and new tools for analysing repertoire and sequence structure – in an integrated environment. We demonstrate Koe with a real‐world case study of New Zealand bellbird Anthornis melanura songs from an archipelago metapopulation. Having classified 21,500 units in Koe, we compare repertoires and sequence structure between sites and sexes. Koe is web‐based ( koe.io.ac.nz.) and easy to use, making it ideal for collaboration, education and citizen science. By enabling large‐scale, high‐resolution classification and analysis of animal vocalizations, Koe expands the possibilities for bioacoustics research.
Songbirds learn their songs culturally, through imitating tutors. The vocal culture of a songbird population changes as new song units (syllables) are introduced through immigration, copying errors, and innovation, while other syllables fall out of use. This leads to a diversification of the syllable pool across the species, much like the diversification and spatial patterns of human language. Vocal cultures have been well studied in male songbirds but have been largely overlooked in females. In particular, few studies compare spatial variation of male and female song cultures. Here we undertake one of the first comparisons of male and female song culture in birds, analysing song data from a metapopulation of New Zealand bellbirds Anthornis melanura, spanning an archipelago of six islands. Having classified 20,700 syllables, we compare population syllable repertoire sizes and overlap between sites and sexes. We show that males and females - both with complex songs - have distinct song cultures, sharing only 6-26% of syllable types within each site. Furthermore, male and female syllable types can be statistically discriminated based on acoustic properties. Despite diverse syllable repertoires within sites, very few syllable types were shared between sites (both sexes had highly distinct site-specific dialects). For the few types shared between sites, sharing decreased with distance only for males. Overall, there was no significant difference between sexes in degree of site-site repertoire overlap. These results show different cultural processes at play for the two sexes. We discuss the implications for future research on female culture.
Songbirds learn their songs culturally, through imitating tutors. The vocal culture of a songbird population changes as new song units (syllables) are introduced through immigration, copying errors, and innovation, while other syllables fall out of use. This leads to a diversification of the syllable pool across the species, much like the diversification and spatial patterns of human language. Vocal cultures have been well-studied in male songbirds but have been largely overlooked in females. Here we undertake one of the first comparisons of male and female song cultures across a songbird metapopulation—studying New Zealand bellbirds Anthornis melanura spanning a network of six islands. Having classified 20,700 syllables (702 types), we compare population syllable repertoire sizes and overlap between sites and sexes. We show that males and females—both with complex songs—have distinct song cultures, sharing only 6–26% of syllable types within each site. Furthermore, male and female syllable types can be statistically discriminated based on acoustic properties. Despite diverse syllable repertoires within sites, few syllable types were shared between sites (both sexes had highly distinct site-specific dialects). For the few types shared between sites, sharing decreased with distance only for males. Overall, there was no significant difference between sexes in degree of site–site repertoire overlap. These results suggest different cultural processes at play for the two sexes, underlining the inadequacy of male-centric song research and calling for comparisons of male and female song cultures in many more species.
How song repertoires vary within species and change over time is well studied in male songbirds. However, variation in female song repertoires remains largely unstudied despite female song being much more common and complex than once assumed. We investigated the song syllable repertoire of the New Zealand bellbird (Anthornis melanura), a species where both sexes have complex but sexually dimorphic song. We compared songs at individual and population levels to investigate sex and temporal variation of syllable repertoires. We detected 96 syllable types in the population over four years, of which 58% were unique to males, 32% unique to females and 9% were shared between the sexes. The population syllable repertoire of both sexes changed substantially across years with similar turnover rates (Jaccard's similarity coefficients; female 52.9–69.0%; male 58.6–73.7%). Furthermore, many syllable types, unique to each sex, varied in prevalence within the population across years. The syllable repertoire sizes of individuals were higher for males than females (13–32, n = 7 and 6–16, n = 8, respectively). Although these sample sizes were low, the temporal variation in syllable prevalence and turnover for individuals were similar to patterns at the population level. Overall, male and female bellbirds exhibited similarities in temporal patterns of yearly repertoire composition, with rapid changes in syllable prevalence, but females had fewer syllable types than males. We suggest that these similarities and differences are consistent with male and female song repertoires being driven by similar but not identical selection pressures.
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