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DE Kroodsma

Publications and source records attributed to DE Kroodsma.

4 recordsLinked to original sources

Sedentary life style of Neotropical sedge wrens promotes song imitation.

To what extent has the style of song development among songbirds coevolved with other life history strategies? Among Cistothorus wrens in North America, it seems that sedentary or site-faithful habits of marsh wrens, C. palustris, favour song imitation, but seminomadic habits of sedge wrens, C. platensis, favour song improvisation, whereby each male generates a large but unique song repertoire. In this study, we tested whether more sedentary populations of sedge wrens in the Neotropics would imitate songs. At our primary study site near Cartago, Costa Rica, breeding birds were colour-banded during 1995 and 1996, and follow-up surveys revealed that the birds remained at this site the year round. Extensive tape recording and analysis of songs showed that males had large song repertoires (200-300+ songs), and that many songs were shared among neighbouring males. In addition, males only 27 km distant, at La Pastora, used different songs. Furthermore, matched countersinging, in which two males answer each other with identical song types, was recorded near Brasilia, in Brazil. The sharing of songs among permanent neighbours, microgeographical variation in song, and matched countersinging can be achieved only through song imitation, thus revealing a striking difference in the style of song development among different populations of the sedge wren. In the Neotropics, having predictable neighbours throughout life appears to have favoured song imitation, so that individuals can interact using a common, learned code typical of the local population; among more mobile populations in North America, however, individuals improvise large repertoires of species-typical songs, thereby enabling singing males to communicate with any individual, no matter what the population of origin. Strategies of song development must correlate with life history features, and further surveys are needed to make sense of the great diversity of singing behaviours among songbirds. Copyright 1999 The Association for the Study of Animal Behaviour.

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Song development by chipping sparrows and field sparrows.

When, where and from whom young songbirds learn their songs have been controversial issues in the study of song development. We chose to study some of these issues in two migratory and closely related songbirds, the chipping sparrow, Spizella passerina, and field sparrow, Spizella pusilla. Nestlings of both species were collected in western Massachusetts and hand-reared in the laboratory. There, juveniles were placed in separate cages and assigned to one of three rooms; in each room were eight young chipping sparrows, eight young field sparrows and two adult tutors of each species, arranged so that most of the young males were adjacent to adult tutors of the same species. During mid-winter, adult tutors were moved from one room to another, so that the young birds heard different song types from different tutors during their hatching year and the following spring. From spectral analysis of our extensive tape recordings, we found that most juvenile males imitated the songs of their hatching-year tutors but then gradually modified their songs to match more closely either their adult tutors or other pupils the next spring. One chipping and one field sparrow clearly imitated a new song syllable from a spring live tutor; that is, these yearling males learned songs by 'instruction'. Other sparrows improvised extensively, and one chipping sparrow learned a field sparrow's song syllable. Our results reveal great individual variation in how songs are developed, and we expect similar flexibility among birds in nature. Copyright 1999 The Association for the Study of Animal Behaviour.

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Song development by grey catbirds

What are the relative roles of imitation, improvisation and invention in the development of large song repertoires in species of the songbird family Mimidae? This question was addressed in a laboratory study of the vocal development of young grey catbirds, Dumetella carolinensiscollected from western Massachusetts. Two groups heard a repeated 10-s, tape-tutored segment of catbird song, two other groups heard a repeated 16-min segment and a fifth group heard no tape-tutored songs. One male selected for study from each group developed a large repertoire of seemingly normal songs, and wild males responded strongly to songs of the male that had heard no tape-tutored song. Relying little on precise imitation and largely on improvising or inventing, each male developed a highly unique repertoire. A geographical survey of catbird song revealed little to no evidence of song sharing or microgeographical variation, which is consistent with the idea that imitation plays a relatively minor role in song development. Perhaps simultaneous selection for large repertoires and reduced geographical variation has led to such an emphasis on song individuality and non-imitative developmental processes.

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