Individual identity, song repertoire and duet function in the Crimson-breasted Shrike (Laniarius atrococcineus)

Sex role similarity and sexual selection predict male and female song elaboration and dimorphism in fairy-wrens

Historically, bird song complexity was thought to evolve primarily through sexual selection on males; yet, in many species, both sexes sing and selection pressure on both sexes may be broader. Previous research suggests competition for mates and resources during short, synchronous breeding seasons leads to more elaborate male songs at high, temperate latitudes. Furthermore, we expect male-female song structure and elaboration to be more similar at lower, tropical latitudes, where longer breeding seasons and year-round territoriality yield similar social selection pressures in both sexes. However, studies seldom take both types of selective pressures and sexes into account. We examined song in both sexes in 15 populations of nine-fairy-wren species (Maluridae), a Southern Hemisphere clade with female song. We compared song elaboration (in both sexes) and sexual song dimorphism to latitude and life-history variables tied to sexual and social selection pressures and sex roles. Our results suggest that song elaboration evolved in part due to sexual competition in males: male songs were longer than female songs in populations with low male survival and less male provisioning. Also, female songs evolved independently of male songs: female songs were slower paced than male songs, although only in less synchronously breeding populations. We also found male and female songs were more similar when parental care was more equal and when male survival was high, which provides strong evidence that sex role similarity correlates with male-female song similarity. Contrary to Northern Hemisphere latitudinal patterns, male and female songs were more similar at higher, temperate latitudes. These results suggest that selection on song can be sex specific, with male song elaboration favored in contexts with stronger sexual selection. At the same time, selection pressures associated with sex role similarity appear to favor sex role similarity in song structure.

Male common cuckoos use a three-note variant of their "cu-coo" call for duetting with conspecific females

Duetting is a coordinated form of acoustic communication with participants uttering calls or songs simultaneously and/or sequentially. Duetting is often observed in pair-bonded species, with mated females and males both contributing to the communal vocal output. We observed duetting between the sexes in the common cuckoo (Cuculus canorus), an obligate brood parasitic species without known pair formation. Specifically, female cuckoos use their sex-specific bubbling calls for duetting, while male cuckoos use a 3-note variant ("cu-cu-coo") of their typical and well-known 2-note ("cu-coo") territorial advertisement calls. The maximum frequency of the elements in the male's 3-note variants was higher relative to the 2-note calls, while durations of both the elements and the inter-element intervals were shorter. The vast majority (95 %) of the 3-note calling was detected together with the bubbling call, implying an intersexual duetting function, with the female calls preceding these male calls in 67 % of cases. The two call types in duetting followed each other rapidly (mean response time of females was 1.30 ± 0.71 SD s, and 0.76 ± 0.53 SD s in males), and typically overlapped with each other (95 %). Frequently (90 %), the male call was repeated 2-3 times, whereas the female call was repeated less frequently (9%). Our results are consistent with a main function of duetting in intersexual communication and coordination between female and male cuckoos.

Partners coordinate territorial defense against simulated intruders in a duetting ovenbird

Duets in breeding pairs may reflect a situation of conflict, whereby an individual answers its partner's song as a form of unilateral acoustic mate guarding or, alternatively, it may reflect cooperation, when individuals share in territory defense or safeguard the partnership. The degree of coordination between the sexes when responding to solo versus paired intruders may elucidate the function of songs in duets. We examined this issue in a study with rufous horneros (Furnarius rufus), a duetting, socially monogamous Neotropical species with low levels of extrapair paternity. We exposed social pairs during the nonbreeding season to playbacks of duets, male solos, female solos, and control heterospecific songs. Partners approached all conspecific stimuli together and responded by singing quickly, at higher rates and by coordinating ~80% of their songs into duets. For both sexes, most response variables (seven of nine) did not vary across conspecific treatments. These results suggest that partners duet and coordinate behaviors to cooperatively defend common territories. However, females spent more time in territorial vigilance, and partners were highly coordinated (correlated responses) in response to duets and female solos in comparison with male solos. This indicates that female intrusions (paired or solo) might be more threatening than male intrusions in the nonbreeding season, especially for territorial females, and that females are less cooperative with their partners in territory defense against male intruders.

Are both notes of the common cuckoo's call necessary for familiarity recognition?

Common cuckoos (Cuculus canorus) are best known for their simple two-note calls ("cu-coo"), which are uttered only by males during the breeding season. A previous playback study revealed that territorial males were more tolerant toward playbacks of the calls of familiar, neighbouring individuals than toward unfamiliar, stranger simulated intruders, exhibiting the classical "dear-enemy" phenomenon. Here we experimentally assessed whether the acoustic cues for familiarity recognition are encoded in the first and/or second note of these simple calls. To do so, we played mixed sound files to radio-tagged cuckoos, where the first part of the two-note calls was taken from strangers and the second part from neighbours, or vice versa. As controls, we used behavioural data from two-note neighbour and two-note stranger call playbacks. Cuckoos responded consistently to the two types of mixed sound files. When either the first or second note of the call was taken from a stranger and the other note from a neighbour, they responded to these sound files similarly to two-note playbacks of strangers: they approached the speaker of the playbacks more closely and the calling response-latency to playbacks was longer than to familiar controls. These findings point to the importance of both notes in familiarity recognition. We conclude that familiarity recognition in male common cuckoos needs the complete structure of the two-note cuckoo call, which is characteristic for this species.