By Andrea Megela Simmons (auth.), Andrea Megela Simmons, Richard R. Fay, Arthur N. Popper (eds.)
In order to speak, animals ship and obtain signs which are topic to their specific anatomical, mental, and environmental constraints. This SHAR quantity discusses either the construction and belief of acoustic indications. Chapters deal with the knowledge that animals speak, how the communique is built and discovered, and the way conversation platforms have tailored and advanced inside of species. The ebook will supply examples from a number of species.
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Extra resources for Acoustic Communication
2000; Thode et al. 2000). In temperate environments, access to the deep sound channel 2. Physical Acoustics of Underwater Sound Communication 33 is enhanced along shelf edges and near underwater sea mounts and islands where the channel rises close to the surface, whereas at high latitudes the sound channel is typically within 100–200 m of the surface. Baleen whales are known to routinely dive to depths of 100–200 m and have been recorded feeding near shelf edges at depths of at least 200–500 m (Panigada et al.
1997; Barimo and Fine 1998; Bass et al. 1999). Most sonic species of teleost ﬁshes are found in shallow water habitats either seasonally or on a perennial basis. As with the vocalizations of cetaceans and other vertebrates, those of teleost ﬁshes may vary in a number of parameters, including repetition rate, duration, amplitude, and frequency (see references above). To illustrate the nature of some of this variation, we present examples of the vocal signals from one species, the plainﬁn midshipman ﬁsh (Porichthys notatus), that has been extensively studied.
1. Baleen Whale Songs The term song refers to long, patterned sequences of sounds in which individual sound units are arranged in a hierarchical order (see Payne and McVay 1971). Songs are typically produced by males during the breeding season and are assumed to be a male reproductive display. Two coastal species, humpbacks and bowheads, are known to sing long, patterned combinations of sounds (Payne and McVay 1971; Ljungblad et al. 1982; Würsig and Clark 1993). These songs are composed of complex vocalizations combined into phrases that are repeated to form themes.