“Bird Song Metronomics”: Isochronous Organization of Zebra Finch Song Rhythm
Identifieur interne : 000010 ( Pmc/Checkpoint ); précédent : 000009; suivant : 000011“Bird Song Metronomics”: Isochronous Organization of Zebra Finch Song Rhythm
Auteurs : Philipp Norton ; Constance ScharffSource :
- Frontiers in Neuroscience [ 1662-4548 ] ; 2016.
Abstract
The human capacity for speech and vocal music depends on vocal imitation. Songbirds, in contrast to non-human primates, share this vocal production learning with humans. The process through which birds and humans learn many of their vocalizations as well as the underlying neural system exhibit a number of striking parallels and have been widely researched. In contrast, rhythm, a key feature of language, and music, has received surprisingly little attention in songbirds. Investigating temporal periodicity in bird song has the potential to inform the relationship between neural mechanisms and behavioral output and can also provide insight into the biology and evolution of musicality. Here we present a method to analyze birdsong for an underlying rhythmic regularity. Using the intervals from one note onset to the next as input, we found for each bird an isochronous sequence of time stamps, a “signal-derived pulse,” or pulseS, of which a subset aligned with all note onsets of the bird's song. Fourier analysis corroborated these results. To determine whether this finding was just a byproduct of the duration of notes and intervals typical for zebra finches but not dependent on the individual duration of elements and the sequence in which they are sung, we compared natural songs to models of artificial songs. Note onsets of natural song deviated from the pulseS significantly less than those of artificial songs with randomized note and gap durations. Thus, male zebra finch song has the regularity required for a listener to extract a perceived pulse (pulseP), as yet untested. Strikingly, in our study, pulsesS that best fit note onsets often also coincided with the transitions between sub-note elements within complex notes, corresponding to neuromuscular gestures. Gesture durations often equaled one or more pulseS periods. This suggests that gesture duration constitutes the basic element of the temporal hierarchy of zebra finch song rhythm, an interesting parallel to the hierarchically structured components of regular rhythms in human music.
Url:
DOI: 10.3389/fnins.2016.00309
PubMed: 27458334
PubMed Central: 4934119
Affiliations:
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<record><TEI><teiHeader><fileDesc><titleStmt><title xml:lang="en">“Bird Song Metronomics”: Isochronous Organization of Zebra Finch Song Rhythm</title><author><name sortKey="Norton, Philipp" sort="Norton, Philipp" uniqKey="Norton P" first="Philipp" last="Norton">Philipp Norton</name></author><author><name sortKey="Scharff, Constance" sort="Scharff, Constance" uniqKey="Scharff C" first="Constance" last="Scharff">Constance Scharff</name></author></titleStmt><publicationStmt><idno type="wicri:source">PMC</idno><idno type="pmid">27458334</idno><idno type="pmc">4934119</idno><idno type="url">http://www.ncbi.nlm.nih.gov/pmc/articles/PMC4934119</idno><idno type="RBID">PMC:4934119</idno><idno type="doi">10.3389/fnins.2016.00309</idno><date when="2016">2016</date><idno type="wicri:Area/Pmc/Corpus">000024</idno><idno type="wicri:explorRef" wicri:stream="Pmc" wicri:step="Corpus" wicri:corpus="PMC">000024</idno><idno type="wicri:Area/Pmc/Curation">000024</idno><idno type="wicri:explorRef" wicri:stream="Pmc" wicri:step="Curation">000024</idno><idno type="wicri:Area/Pmc/Checkpoint">000010</idno><idno type="wicri:explorRef" wicri:stream="Pmc" wicri:step="Checkpoint">000010</idno></publicationStmt><sourceDesc><biblStruct><analytic><title xml:lang="en" level="a" type="main">“Bird Song Metronomics”: Isochronous Organization of Zebra Finch Song Rhythm</title><author><name sortKey="Norton, Philipp" sort="Norton, Philipp" uniqKey="Norton P" first="Philipp" last="Norton">Philipp Norton</name></author><author><name sortKey="Scharff, Constance" sort="Scharff, Constance" uniqKey="Scharff C" first="Constance" last="Scharff">Constance Scharff</name></author></analytic><series><title level="j">Frontiers in Neuroscience</title><idno type="ISSN">1662-4548</idno><idno type="eISSN">1662-453X</idno><imprint><date when="2016">2016</date></imprint></series></biblStruct></sourceDesc></fileDesc><profileDesc><textClass></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en"><p>The human capacity for speech and vocal music depends on vocal imitation. Songbirds, in contrast to non-human primates, share this vocal production learning with humans. The process through which birds and humans learn many of their vocalizations as well as the underlying neural system exhibit a number of striking parallels and have been widely researched. In contrast, rhythm, a key feature of language, and music, has received surprisingly little attention in songbirds. Investigating temporal periodicity in bird song has the potential to inform the relationship between neural mechanisms and behavioral output and can also provide insight into the biology and evolution of musicality. Here we present a method to analyze birdsong for an underlying rhythmic regularity. Using the intervals from one note onset to the next as input, we found for each bird an isochronous sequence of time stamps, a “signal-derived pulse,” or pulse<sup>S</sup>, of which a subset aligned with all note onsets of the bird's song. Fourier analysis corroborated these results. To determine whether this finding was just a byproduct of the duration of notes and intervals typical for zebra finches but not dependent on the individual duration of elements and the sequence in which they are sung, we compared natural songs to models of artificial songs. Note onsets of natural song deviated from the pulse<sup>S</sup> significantly less than those of artificial songs with randomized note and gap durations. Thus, male zebra finch song has the regularity required for a listener to extract a perceived pulse (pulse<sup>P</sup>), as yet untested. Strikingly, in our study, pulses<sup>S</sup> that best fit note onsets often also coincided with the transitions between sub-note elements within complex notes, corresponding to neuromuscular gestures. Gesture durations often equaled one or more pulse<sup>S</sup> periods. This suggests that gesture duration constitutes the basic element of the temporal hierarchy of zebra finch song rhythm, an interesting parallel to the hierarchically structured components of regular rhythms in human music.</p></div></front><back><div1 type="bibliography"><listBibl><biblStruct><analytic><author><name sortKey="Amador, A" uniqKey="Amador A">A. Amador</name></author><author><name sortKey="Perl, Y S" uniqKey="Perl Y">Y. S. Perl</name></author><author><name sortKey="Mindlin, G B" uniqKey="Mindlin G">G. B. Mindlin</name></author><author><name sortKey="Margoliash, D" uniqKey="Margoliash D">D. Margoliash</name></author></analytic></biblStruct><biblStruct><analytic><author><name sortKey="Arom, S" uniqKey="Arom S">S. Arom</name></author></analytic></biblStruct><biblStruct><analytic><author><name sortKey="Baptista, L F" uniqKey="Baptista L">L. F. Baptista</name></author><author><name sortKey="Keister, R A" uniqKey="Keister R">R. A. 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<front><journal-meta><journal-id journal-id-type="nlm-ta">Front Neurosci</journal-id><journal-id journal-id-type="iso-abbrev">Front Neurosci</journal-id><journal-id journal-id-type="publisher-id">Front. Neurosci.</journal-id><journal-title-group><journal-title>Frontiers in Neuroscience</journal-title></journal-title-group><issn pub-type="ppub">1662-4548</issn><issn pub-type="epub">1662-453X</issn><publisher><publisher-name>Frontiers Media S.A.</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="pmid">27458334</article-id><article-id pub-id-type="pmc">4934119</article-id><article-id pub-id-type="doi">10.3389/fnins.2016.00309</article-id><article-categories><subj-group subj-group-type="heading"><subject>Psychology</subject><subj-group><subject>Original Research</subject></subj-group></subj-group></article-categories><title-group><article-title>“Bird Song Metronomics”: Isochronous Organization of Zebra Finch Song Rhythm</article-title></title-group><contrib-group><contrib contrib-type="author"><name><surname>Norton</surname><given-names>Philipp</given-names></name><uri xlink:type="simple" xlink:href="http://loop.frontiersin.org/people/260822/overview"></uri></contrib><contrib contrib-type="author"><name><surname>Scharff</surname><given-names>Constance</given-names></name><xref ref-type="author-notes" rid="fn001"><sup>*</sup></xref><uri xlink:type="simple" xlink:href="http://loop.frontiersin.org/people/455/overview"></uri></contrib></contrib-group><aff><institution>AG Verhaltensbiologie, Freie Universität Berlin</institution><country>Berlin, Germany</country></aff><author-notes><fn fn-type="edited-by"><p>Edited by: Andrea Ravignani, Vrije Universiteit Brussel, Belgium</p></fn><fn fn-type="edited-by"><p>Reviewed by: Carel Ten Cate, Leiden University, Netherlands; Gabriel Mindlin, University of Buenos Aires, Argentina</p></fn><corresp id="fn001">*Correspondence: Constance Scharff <email xlink:type="simple">scharff@zedat.fu-berlin.de</email></corresp><fn fn-type="other" id="fn002"><p>This article was submitted to Auditory Cognitive Neuroscience, a section of the journal Frontiers in Neuroscience</p></fn></author-notes><pub-date pub-type="epub"><day>06</day><month>7</month><year>2016</year></pub-date><pub-date pub-type="collection"><year>2016</year></pub-date><volume>10</volume><elocation-id>309</elocation-id><history><date date-type="received"><day>07</day><month>3</month><year>2016</year></date><date date-type="accepted"><day>20</day><month>6</month><year>2016</year></date></history><permissions><copyright-statement>Copyright © 2016 Norton and Scharff.</copyright-statement><copyright-year>2016</copyright-year><copyright-holder>Norton and Scharff</copyright-holder><license xlink:href="http://creativecommons.org/licenses/by/4.0/"><license-p>This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.</license-p></license></permissions><abstract><p>The human capacity for speech and vocal music depends on vocal imitation. Songbirds, in contrast to non-human primates, share this vocal production learning with humans. The process through which birds and humans learn many of their vocalizations as well as the underlying neural system exhibit a number of striking parallels and have been widely researched. In contrast, rhythm, a key feature of language, and music, has received surprisingly little attention in songbirds. Investigating temporal periodicity in bird song has the potential to inform the relationship between neural mechanisms and behavioral output and can also provide insight into the biology and evolution of musicality. Here we present a method to analyze birdsong for an underlying rhythmic regularity. Using the intervals from one note onset to the next as input, we found for each bird an isochronous sequence of time stamps, a “signal-derived pulse,” or pulse<sup>S</sup>, of which a subset aligned with all note onsets of the bird's song. Fourier analysis corroborated these results. To determine whether this finding was just a byproduct of the duration of notes and intervals typical for zebra finches but not dependent on the individual duration of elements and the sequence in which they are sung, we compared natural songs to models of artificial songs. Note onsets of natural song deviated from the pulse<sup>S</sup> significantly less than those of artificial songs with randomized note and gap durations. Thus, male zebra finch song has the regularity required for a listener to extract a perceived pulse (pulse<sup>P</sup>), as yet untested. Strikingly, in our study, pulses<sup>S</sup> that best fit note onsets often also coincided with the transitions between sub-note elements within complex notes, corresponding to neuromuscular gestures. Gesture durations often equaled one or more pulse<sup>S</sup> periods. This suggests that gesture duration constitutes the basic element of the temporal hierarchy of zebra finch song rhythm, an interesting parallel to the hierarchically structured components of regular rhythms in human music.</p></abstract><kwd-group><kwd>zebra finch</kwd><kwd>birdsong</kwd><kwd>rhythm</kwd><kwd>pulse</kwd><kwd>music</kwd><kwd>gestures</kwd></kwd-group><counts><fig-count count="6"></fig-count><table-count count="1"></table-count><equation-count count="0"></equation-count><ref-count count="73"></ref-count><page-count count="15"></page-count><word-count count="10574"></word-count></counts></article-meta></front></pmc><affiliations><list></list><tree><noCountry><name sortKey="Norton, Philipp" sort="Norton, Philipp" uniqKey="Norton P" first="Philipp" last="Norton">Philipp Norton</name><name sortKey="Scharff, Constance" sort="Scharff, Constance" uniqKey="Scharff C" first="Constance" last="Scharff">Constance Scharff</name></noCountry></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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