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    A 12,000-Year-Old Bird Call, Made of Bird Bones

    In flight, the Eurasian kestrel is mostly silent, a small falcon that seems to defy physics as it faces the wind and hovers in midair, tail spread out like a fan. Flapping its wings vigorously, the bird of prey catches every eddy of the breeze while scanning the ground below for quarry.Perched in its breeding grounds, however, the kestrel emits a series of raspy screams, each note a single-syllabled kik-kik-kik. In June, a team of Israeli and French archaeologists proposed that 12,000 years ago the Natufians, people of a Stone Age culture in the Levant and Western Asia, mimicked the raspy trills of the Eurasian kestrel with tiny notched flutes, or aerophones, carved from waterfowl bones.The flutes, which were discovered decades ago at a site in northern Israel but were inspected only recently, may have been used as hunting aids, for musical and dancing practices or for communicating with birds over short distances, according to the study’s authors, who published their paper in Scientific Reports.“This is the first time a prehistoric sound instrument from the Near East has been identified,” said Laurent Davin, an archaeologist at the French Research Center in Jerusalem who made the discovery.The theory is largely based on fragments of seven wind instruments that were among 1,112 bird bones unearthed at Eynan-Mallaha, a prehistoric swamp village in the Hula Valley, which is still an important passageway for the more than two billion birds that annually migrate along the African-Eurasian flyway. The Natufians inhabited the Levant from 13000 to 9700 B.C., a time when humans were undergoing a massive shift from nomadic hunter-gatherers to more sedentary, semi-settled, open-air communities. The society featured the first durable, stone-based architecture and the first graveyards, with funerary customs that changed through time.Seven bird bone flutes from Eynan-Mallaha, at the Hebrew University of Jerusalem.The Hebrew University of Jerusalem“The Natufians bear witness to a completely crazy period in human history, abandoning the nomadic lifestyle practiced since the dawn of man to settle down in one place,” said Fanny Bocquentin, the lead archaeologist on the dig since 2022. “It’s a big responsibility, a challenge they successfully met, since in a way they gave rise to our way of life and our food regime.”Dr. Davin noted that the settlers of the valley had to find regular sources of food before they even knew how to cultivate them. “Before that time, they relied on game such as rabbits and foxes and gazelles,” he said. The lake and seasonal swamps that nearly covered the valley provided fish and an abundance of birds, most of them wintering waterfowl.The swamp was drained by Zionist pioneers as part of an infrastructure project in the early 20th century, and first excavated by a French mission in 1955. Since then, careful sifting has yielded bones from a wide range of local animal species. The flutes went unnoticed until last year when Dr. Davin observed marks on seven wing bones of Eurasian coots and Eurasian teals. Only one of the instruments was fully intact, and that was all of two and a half inches long.Closer inspection revealed that the marks were tiny holes bored into the hollow bones, and that one of the ends of the intact flute had been carved into a mouthpiece. Initially, Dr. Davin’s colleagues dismissed the holes as routine weathering. But when he subjected the delicate bones to micro-CT scans, he realized that the holes had been meticulously perforated and were spaced at even intervals. The bones had been scraped and grooved with small stone blades, he said, and they bore traces of red ochre and had microscopic wear patterns suggesting that the aerophones had seen considerable use. “The perforations were finger holes,” Dr. Davin said.To test out his theory, a team of archaeologists and ethnomusicologists fashioned three replicas of the intact bone flute. Unable to obtain carcasses of Eurasian coot or teal, the researchers used the wing bones of two female mallard ducks. Blowing into the replicas produced sounds that they compared with the calls of dozens of bird species plying the Hula Valley. The pitch range was very similar to that of two kinds of raptors known to nest in the area, Eurasian kestrels and sparrow hawks.

    The research team determined that the finger holes had been made with a flint tool so precise that the holes could be sealed with a fingertip, the sine qua non of wind instruments. “For the Natufian to produce those flutes was a piece of cake,” said Anna Belfer-Cohen, an archaeologist at the Hebrew University of Jerusalem. She added that the society produced a wealth of tools and highly sophisticated utensils, beaded jewelry, pendants of stone, bone, teeth and shells, as well as engraved bone and stone plaques.The flowering of music-making in the deep past is hotly debated. The oldest flute attributed to modern humans is a five-holed aerophone found in 2008 at the Hohle Fels cave in southwest Germany. Carved from the wing-bone of a griffon vulture, the flute may be 40,000 years old, making it one of the oldest instruments ever found.But some scholars point to a Neanderthal artifact known as the Divje Babe flute that was unearthed 28 years ago in a cave in northwestern Slovenia. That object, a young cave bear’s left thigh bone pierced by four spaced holes, is thought to date back at least 50,000 years. However, other scientists argue that the Divje Babe flute was simply the product of an Ice Age carnivore, possibly a spotted hyena, scavenging on a dead bear cub.Hamoudi Khalaily of the Israel Antiquities Authority, who collaborated on the bird flute study, has said that if the Natufians used the aerophones to flush birds out of the marshes, the discovery would mark “the earliest evidence of the use of sound in hunting.” In other words, the miniature flutes could have produced Stone Age duck calls.Natalie Munro, an anthropologist at the University of Connecticut, has an alternative hypothesis. “While we’re speculating, maybe the true purpose of the instruments was to communicate with a different animal altogether,” she said. Eynan-Mallaha was also home to a Natufian woman found buried with her hand resting on a puppy. The burial dates to 12,000 years ago and figures frequently in narratives of early dog domestication. “Maybe these bones and their high-pitched sounds were more akin to dog whistles,” Dr. Munro said. “They could have been used to communicate with early dogs or their wolf cousins.”Considering the flute’s harsh tone, few scientists maintain that it was intended as a melodic tool. Still, as John James Audubon observed of a pair of American kestrels, “Side by side they sail, screaming aloud their love notes, which, if not musical, are doubtless at least delightful to the parties concerned.” More

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    Roger Payne, Biologist Who Heard Whales Singing, Dies at 88

    His underwater microphones recorded “Songs of the Humpback Whale,” inspiring a movement that led to national and international bans on commercial whaling.Roger S. Payne, a biologist whose discovery that whales serenade one another prompted him to record their cacophonous repertoire of baying, booming, shrieking, squealing, mooing and caterwauling, resulting in both a hit album and a rallying cry to ban commercial whaling, died on Saturday at his home in South Woodstock, Vt. He was 88.The cause was metastatic squamous cell carcinoma, his wife, Lisa Harrow, said.Dr. Payne combined his captivating scientific research with the emotive power of music to spur one of the world’s most successful mammal conservation campaigns. He amplified whales’ voices to help win a congressional crackdown on commercial whaling in the 1970s and a global moratorium in the ’80s. And he established Ocean Alliance, a research and advocacy organization, as well as programs at the Wildlife Conservation Society and elsewhere that continue his groundbreaking work.“He was instrumental in protecting and saving those large animals throughout the world,” Dr. Howard Rosenbaum, director of the Wildlife Conservation Society’s Ocean Giants program, said in an interview.Prof. Diana Reiss, director of the Animal Behavior and Conservation Program at Hunter College of the City University of New York, said in an email that Dr. Payne’s album “Songs of the Humpback Whale” “had a profound effect in raising global awareness and empathy for whales” and “became a national anthem for the environmental movement.”In a Time magazine essay published just days before he died, Dr. Payne warned that human survival would be jeopardized unless efforts were made “to try to save all species of life, knowing that if we fail to save enough of the essential ones, we will have no future.”In pursuing those efforts, he wrote, society must heed other voices — including nonhumans, like whales — and listen to “what they love, fear, desire, avoid, hate, are intrigued by and treasure” in confronting threats like climate change and increasing acidity in the ocean.“Fifty years ago, people fell in love with the songs of humpback whales, and joined together to ignite a global conservation movement,” Dr. Payne wrote. “It’s time for us to once again listen to the whales — and, this time, to do it with every bit of empathy and ingenuity we can muster so that we might possibly understand them.”A humpback whale and her calf in a scene from the 1978 documentary “Humpbacks: The Gentle Giants,” one of the first films made about whales. It featured Dr. Payne, his wife, Katy Payne, and Sylia Earle.In 1971, Dr. Payne founded Ocean Alliance, now based in Gloucester, Mass., to study and protect whales and their environment. He was an assistant professor of biology at Rockefeller University and a research zoologist at what is now known as the Wildlife Conservation Society’s Center for Field Biology and Conservation, both in New York; he was also scientific director of the society’s Whale Fund until 1983. He was named a MacArthur Foundation fellow in 1984.Dr. Payne was the author of several books, including “Among Whales” (1995), and produced or hosted six documentaries, including the IMAX movie “Whales: An Unforgettable Journey” (1996). More recently, he signed on as the principal adviser to Project CETI (Cetacean Translation Initiative), founded in 2020 with the goal of translating the communication of sperm whales.In the early 1960s, Dr. Payne was a moth expert who had never seen a whale. His curiosity was piqued when a porpoise washed up on a Massachusetts beach and he heard whale sounds recorded by William Schevill of the Woods Hole Oceanographic Institution in Cape Cod, Mass.A friend suggested that he would have a better chance of seeing and hearing live whales in Bermuda. It was there that he met a Navy engineer who, while monitoring Soviet submarine traffic off the East Coast with underwater microphones, had detected another source of undersea sounds that formed thematic patterns and appeared to last as long as 30 minutes.The sounds emanated from whales, whose sequence of sounds Dr. Payne defined as songs, sung both solo and in ensemble. The songs could sometimes be audible for thousands of miles across an ocean.“What I heard blew my mind,” he told The New Yorker last year.Dr. Payne and a fellow researcher, Scott McVay, confirmed in 1967 that humpback whales sing in what Dr. Payne described as a chorus of “exuberant, uninterrupted rivers of sound.”He analyzed the audio with a sound spectrograph, and with collaborators including his wife and fellow researcher, Katherine (Boynton) Payne, known as Katy, as well as Mr. McVay and an engineer, Frank Watlington. They notated the rhythmic melody in what resembled an electronic-music score. Dr. Payne then wrote, in Science magazine in 1971, that humpback whales “produce a series of beautiful and varied sounds for a period of seven to 30 minutes and then repeat the same series with considerable precision.”How, why and even if the whales were actually communicating remained a mystery. Whales have no larynxes or vocal cords, so they appear to make the sounds by pushing air from their lungs through their nasal cavities. Male humpbacks seem to make the sounds especially during breeding season.Notwithstanding whatever advocacy and research Dr. Payne and his colleagues did, it was the whale songs that caught the public imagination and fired the global movement.The music critic Donal Henahan wrote in The New York Times in 1970 that the whales produced “strange and moving lyricism,” which the Times described in a separate article as akin to a haunting oboe-cornet duet trailing off to an eerie wailing bagpipe.“Songs of the Humpback Whale” landed on the Billboard 200 album chart and stayed there for several weeks in 1970, initially selling more than a hundred thousand copies. The track list included “Solo Whale,” “Slowed‐Down Solo Whale,” “Tower Whales,” “Distant Whales” and “Three Whale Trip.”“If, after hearing this (preferably in a dark room), you don’t feel you have been put in touch with your mammalian past,” Mr. Henahan wrote, “you had best give up listening to vocal music.”Some of the whales’ melodies were incorporated by Judy Collins on one track of her album “Whales and Nightingales.” Pete Seeger was inspired by the melodies to write “Song of the World’s Last Whale.” And the New York Philharmonic performed “And God Created Great Whales,” composed by Alan Hovhaness and incorporating recorded whale songs — sounds that, Mr. Henahan wrote, “carried overtones of ecological doom and a wordless communication from our primordial past.”In 1977, when NASA launched Voyagers 1 and 2 to probe the far reaches of the solar system, the songs of the humpback whales were carried into space on records that could be played by any alien with a stylus.Dr. Payne in the Gulf of Mexico in 2014, studying the effects of the 2010 Deepwater Horizon oil spill on whales.Ocean AllianceRoger Searle Payne was born on Jan. 29, 1935, in Manhattan to Elizabeth (Searle) Payne, a music teacher, and Edward Benedict Payne, an electrical engineer. He graduated from Harvard with a bachelor’s degree in biology in 1956 and earned a doctorate in animal behavior from Cornell University in 1961.He married Katherine Boynton in 1960; their marriage ended in divorce in 1985. He and Ms. Harrow, an actress and environmentalist, married in 1991. In addition to her, he is survived by four children from his first marriage, John, Holly, Laura and Sam Payne; a stepson, Timothy Neill-Harrow; and 11 grandchildren.“Roger‘s career, his life, was marked by his deep commitment to the lives of whales and other marine life, and then to the interdependence of all species,” Prof. Stuart Firestein, a former chairman of the biology department at Columbia University, said by email. “Roger’s way was not coercion but creating in others the awe and wonder he felt for the beauty of life on this planet.”In his Time essay, Dr. Payne looked both backward and to the future. “As my time runs out,” he wrote, “I am possessed with the hope that humans worldwide are smart enough and adaptable enough to put the saving of other species where it belongs: at the top of the list of our most important jobs. I believe that science can help us survive our folly.” More

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    Birds Sing, but Are They Making Music? What Scientists Say.

    When a bird sings, you may think you’re hearing music. But are the melodies it’s making really music? Or is what we’re hearing merely a string of lilting calls that appeals to the human ear?Birdsong has inspired musicians from Bob Marley to Mozart and perhaps as far back as the first hunter-gatherers who banged out a beat. And a growing body of research is showing that the affinity human musicians feel toward birdsong has a strong scientific basis. Scientists are understanding more about avian species’ ability to learn, interpret and produce songs much like our own.Just like humans, birds learn songs from each other and practice to perfect them. And just as human speech is distinct from human music, bird calls, which serve as warnings and other forms of direct communication, differ from birdsong.While researchers are still debating the functions of birdsong, studies show that it is structurally similar to our own tunes. So, are birds making music? That depends on what you mean.“I’m not sure we can or want to define music,” said Ofer Tchernichovski, a zoologist and psychologist at the City University of New York who studies birdsong.Where you draw the line between music and mere noise is arbitrary, said Emily Doolittle, a zoomusicologist and composer at the Royal Conservatoire of Scotland. The difference between a human baby’s babbling versus a toddler’s humming might seem more distinct than that of a hatchling’s cry for food and a maturing bird’s practicing of a melody, she added.Wherever we draw the line, birdsong and human song share striking similarities.How birds build songsExisting research points to one main conclusion: Birdsong is structured like human music. Songbirds change their tempo (speed), pitch (how high or low they sing) and timbre (tone) to sing tunes that resemble our own melodies.The Tempo of BirdsongA northern mockingbird stretches its tempo. Recording by David Rothenberg.The Pitch of BirdsongA northern mockingbird adjusting its pitch from one phrase to the next. Recording by David Rothenberg.The Timbre of BirdsongA northern mockingbird shifting its tonal quality across phrases. Recording by David Rothenberg.Other features, like cadence and tension, are also used in both birdsong and human music, said Tina Roeske, a behavioral neurobiologist who specializes in birdsong. Just as the familiar tune “In the Hall of the Mountain King” gradually builds speed “accelerando,” as the compositional notation is known, some birdsong does too, like that of the nightingale.While earlier studies focused on syntax, or how notes were ordered, newer research is integrating rhythm, too, by analyzing how notes are timed. In human music, rhythm is often thought of as a constant beat, like the one that opens “We Will Rock You” by Queen. But in birdsong, rhythm refers to patterns of notes, regardless of whether they are repeated.To humans, birdsong may appear to have “a random structure,” Dr. Roeske said. Because of the speed at which birds sing — up to four times as fast as most human music — that rhythm is “hard for us to grasp and appreciate,” she added.Dr. Roeske and her co-author Dr. Tchernichovski researched birds’ musical structure and found that birdsong rhythms fell into three general categories. The first is isochronous, in which intervals between notes are equidistant.Isochronous RhythmA thrush nightingale sings with equidistant intervals between notes. Recording by Tina Roeske.Alternating, in which a note is longer than the previous one.Alternating RhythmA thrush nightingale alternates its notes. Recording by Tina Roeske.And ornament, an exaggerated form of the alternating pattern.Ornament RhythmA thrush nightingale exaggerates its alternating rhythm. Recording by Tina Roeske.Human music contains these rhythmic patterns, too.In their 2020 study, Dr. Roeske and Dr. Tchernikovski compared recordings of thrush nightingales across Europe with examples from musical genres all over the world, including Western classical piano, Persian drumming and Tunisian stambeli. They found that birdsong and global music forms had the same types of timing components, integer ratios, which form the foundation of most melodies.In music, these ratios are the amount of time between notes. A 1-to-1 ratio means notes are evenly spaced, like in “Twinkle, Twinkle, Little Star,” but a 1-to-2 ratio means the time from one note to the next is uneven, like in “Itsy Bitsy Spider,” Dr. Roeske explained.When they charted integer ratios from birdsong and human music, the plots all produced a similar shape resembling a long-stemmed flower. This indicates that some birds build songs using patterns similar to those found in human music.Other researchers are gaining insights by focusing on birdsong rhythm.“We found that rhythm and syntax have a relationship that nobody has really thought about before,” said Jeffrey Xing, a graduate student in psychology at the University of California, San Diego, and an author of a September 2022 paper analyzing the song structure of the Australian pied butcherbird.Pied butcherbirds “seem to prefer some song rhythms over others,” such as isochronous rhythm, Mr. Xing said. In some ways, these rhythmic patterns follow rules like forms of poetry that have strict meter. A good example is a sonnet.“It’s a very rigid rhythmic structure that you have to follow, and somehow the syntax of the words you use has to conform to that,” he said.Human brains and bird brainsHollis Taylor has dedicated her life’s work as a violinist and ornithologist to the pied butcherbird, a species she deems a fellow musician.Ms. Taylor, who analyzed the bird’s rhythmic structures with Mr. Xing, records the birds’ songs in Australian deserts and savannas in the middle of the night. Then, she transcribes their notes into musical notation.“The musician in me recognizes the musician in them,” Ms. Taylor said.Pied Butcherbird DuetsThree examples of pied butcherbirds singing duets. Recording by Hollis Taylor.She has observed what appear to be warm-up sessions, rehearsals and singing contests. Other than humans, there’s only a “small club” of species with an observed capacity to learn songs and vocal patterns, Ms. Taylor said, including songbirds, parrots, hummingbirds, bats, elephants and some marine mammals.Ms. Taylor has performed her birdsong-like compositions with orchestras around the world. She draws inspiration from the French composer Olivier Messiaen, who also transcribed birdsong into musical notation.Musicians’ fascination with birdsong has deep roots. Mozart, historians recount, kept a European starling in his Vienna apartment for three years. In a letter to his father, Mozart remarked at the “lovely” and precise way in which the starling learned and repeated one of his concertos.Fiona CarswellWhile there is no concrete evidence that Mozart’s starling influenced his compositions, the idea that birds affect the work of composers endures.The French composer François-Bernard Mâche, a founder of zoomusicology, speculates that birds may have influenced Igor Stravinsky’s compositions during summertime stays in what is now Ukraine. According to Dr. Doolittle’s research, the song patterns of Eurasian blackbirds found in that region resemble Stravinsky’s compositional style.Neuroscience research points to the idea that this affinity between birds and humans is not so unusual. In terms of musical ability, we are more like birds than we are like our primate cousins or other mammals, said Johan Bolhuis, a zoologist who specializes in the cognitive neurobiology of birds and humans.Our brains and songbirds’ brains have a similar way of learning musicality. But the brains of monkeys and non-songbirds, like gulls, are organized in a different way, Dr. Bolhuis said. It could be a sign of shared creative abilities: Like humans, some songbird species seem to improvise based on the song patterns they have learned.For example, both humans and birds can produce smash hits that evoke feelings in their listeners, the psychologist Dr. Tchernichovski explained.“When you hear music, what do you feel? Well, it depends on the music,” he said.For instance, listening to a funeral march might make you sad even if you’re vacationing on the beach, and a romantic song might fill you with love even if you’re working on your taxes. Birdsong can affect the behavior of other birds by luring in a mate or scaring off an unwanted foe, similar to how we might turn up the volume when we hear our favorite song or skip to the next track if the vibe is off.“This is the magic in music,” Dr. Tchernichovski said. “Bird songs seem to have some of this magic, too.”But there’s no evidence that their songs have meaning, Dr. Bolhuis said.“In the mind of the great composers, they actually meant something” with music, he said. “It’s not so much the case in birdsong.”Also, birds have a limited repertoire, whereas with only a limited number of items, the human mind “can be infinitely creative,” Dr. Bolhuis said.Researchers agree, however, that birdsong can communicate identity. “They can recognize individuals just the way you and I can recognize each other by our voices,” said Mike Webster, director of the Macaulay Library at the Cornell Lab of Ornithology.When birds from a certain area hear a familiar bird singing, he explained, it’s no big deal. But if the same bird moves to a new area, the birds there “go bananas” in a territorial uproar. In this sense, singing is like a way for birds to identify themselves — but there may be more to it than that.Why do birds sing?While scientists have studied birdsong for decades, they know little about why and how birds select specific tunes and what counts as deliberate communication versus meaningless song.Through brain-imaging studies, neuroscientists have found that the human brain responds to music most strongly along a particular neural circuit that is activated when a person listens to a song perceived as pleasant. Studies have shown that birdsong elicits the same response in female birds, possibly as an evolutionary mechanism for mate attraction. But scientists still wonder whether birds sing for entertainment in addition to mating.“What’s going on in the bird’s head when it’s singing? Is it happy?” Dr. Webster said. Humans often sing when they are emotional — happy and heartbroken alike — but scientists do not know if birds have such an emotional range.Dr. Webster, who studies bird behavior and communication, added another unknown: If birdsong’s main purpose in some species is for males to attract females, then why do some females also sing? “Female song actually arose very early in songbird evolution,” he said. “In species where females don’t sing, it’s because they’ve lost the ability to sing rather than it being gained.” This indicates that it may have once been evolutionarily beneficial for females to sing — and scientists can’t say why.There are other mysteries. Ornithologists have observed “bird chatter” in parrots, when two birds appear to be whispering to each other. There are also nonvocal sounds, Dr. Webster said: Some birds snap their wings, some drum on trees and others rub their feathers together as if playing the violin. The purpose of these sounds — whether communicative, musical or both — sits on the next frontier of ornithology research.“We’ve just scratched the surface,” Dr. Webster said. “Birds are constantly making sound, and I think most of the time we don’t really know why, and we don’t really know what they’re saying to each other.” More