Cockatiels sing human music in synchrony with a playback of the melody

Convergent vocal representations in parrot and human forebrain motor networks

Cortical networks for the production of spoken language in humans are organized by phonetic features1,2, such as articulatory parameters3,4 and vocal pitch5,6. Previous research has failed to find an equivalent forebrain representation in other species7-11. To investigate whether this functional organization is unique to humans, here we performed population recordings in the vocal production circuitry of the budgerigar (Melopsittacus undulatus), a small parrot that can generate flexible vocal output12-15, including mimicked speech sounds16. Using high-density silicon probes17, we measured the song-related activity of a forebrain region, the central nucleus of the anterior arcopallium (AAC), which directly projects to brainstem phonatory motor neurons18-20. We found that AAC neurons form a functional vocal motor map that reflects the spectral properties of ongoing vocalizations. We did not observe this organizing principle in the corresponding forebrain circuitry of the zebra finch, a songbird capable of more limited vocal learning21. We further demonstrated that the AAC represents the production of distinct vocal features (for example, harmonic structure and broadband energy). Furthermore, we discovered an orderly representation of vocal pitch at the population level, with single neurons systematically selective for different frequency values. Taken together, we have uncovered a functional representation in a vertebrate brain that displays unprecedented commonalities with speech-related motor cortices in humans. This work therefore establishes the parrot as an important animal model for investigating speech motor control and for developing therapeutic solutions for addressing a range of communication disorders22,23.

Examining the capability for rhythmic synchronization and music production in vocal learning parrot species

Vocal production learning and beat perception and synchronization (BPS) share some common characteristics, which makes the vocal learning and rhythmic synchronization hypothesis (VLH) a reasonable explanation for the evolution of the capability for rhythmic synchronization. However, even in vocal learners, it is rare to see non-human animals demonstrate BPS to human music. Therefore, the first objective of this article is to propose some possible reasons why we do not see BPS in budgerigars, an excellent vocal learning species, while presenting some of my own findings. The second objective of this article is to propose a seamless bridge to connect the capability for vocal learning and BPS in locomotion. For this purpose, I present my own findings, wherein cockatiels spontaneously sang in synchrony with a melody of human music. This behavior can be considered a vocal version of BPS. Therefore, it can establish a connection between these two capabilities. This article agrees with the possibility that some mechanisms other than the vocal learning system may enable BPS, contrary to the original idea of VLH. Nevertheless, it is still reasonable to connect the capability for vocal learning and that for BPS. At the very least, the capability for vocal learning may contribute to the evolution of BPS. From these arguments, this article also proposes a scenario which includes vocalizing in synchrony as a driving force for the evolution of BPS and the capability for music production.

Expanding Aesthetics

This paper seeks to expand traditional aesthetic dimensions of design beyond the limits of human capability in order to encompass other species' sensory modalities. To accomplish this, the idea of inclusivity is extended beyond human cultural and personal identities and needs, to embrace multi-species experiences of places, events and interactions in the world. This involves drawing together academic perspectives from ecology, neuroscience, anthropology, philosophy and interaction design, as well as exploring artistic perspectives and demonstrating how these different frames of reference can inspire and complement each other. This begins with a rationale for the existence of non-human aesthetics, followed by an overview of existing research into non-human aesthetic dimensions. Novel aesthetic categories are proposed and the challenge of how to include non-human aesthetic sensibility in design is discussed.