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    Can the Higgs Boson Become a Broadway Star?

    A musical about particle physics is under development, with David Henry Hwang, the playwright behind “M. Butterfly.”On a recent Friday afternoon in a basement room in Midtown Manhattan, a dozen musicians and actors stood behind a line of microphones and broke into song about particle physics. Urged along by a piano in the corner, their voices blended at times in a heavenly lament about cosmic ignorance and the search for the Higgs boson, a fleck of energy thought to be key to understanding the evolution of the universe.If you think particle physics is an unpromising subject for a Broadway musical, you’re not alone. David Henry Hwang, the playwright of “M. Butterfly” fame, was unmoved when the idea was first pitched to him several years ago. “It was such an unlikely idea,” he said.But that was then.The basement performance, for a small crowd of Broadway insiders, investors and friends, was the first private reading of a new musical with a story by Mr. Hwang, and music and lyrics by Bear McCreary and Zoe Sarnak. The show recounts one of the biggest events in physics this century: the discovery in 2012 of the Higgs boson and the people behind it.The production, still nascent, is based on “Particle Fever,” an award-winning documentary film in 2013 produced by David Kaplan, a film student turned physicist at Johns Hopkins University, and directed by Mark Levinson, a physicist turned filmmaker.The minireveal in June was an important first step for Megan Kingery and Annie Roney, the producers, who have spent the past decade trying to forge the unlikely material into what they hope will eventually become a Broadway musical.“It’s been a long time coming, and it has a long way to go,” Ms. Kingery said recently during a Zoom interview with Ms. Roney.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Why Do People Make Music?

    Music baffled Charles Darwin. Mankind’s ability to produce and enjoy melodies, he wrote in 1874, “must be ranked amongst the most mysterious with which he is endowed.”All human societies made music, and yet, for Darwin, it seemed to offer no advantage to our survival. He speculated that music evolved as a way to win over potential mates. Our “half-human ancestors,” as he called them, “aroused each other’s ardent passions during their courtship and rivalry.”Other Victorian scientists were skeptical. William James brushed off Darwin’s idea, arguing that music is simply a byproduct of how our minds work — a “mere incidental peculiarity of the nervous system.”That debate continues to this day. Some researchers are developing new evolutionary explanations for music. Others maintain that music is a cultural invention, like writing, that did not need natural selection to come into existence.In recent years, scientists have investigated these ideas with big data. They have analyzed the acoustic properties of thousands of songs recorded in dozens of cultures. On Wednesday, a team of 75 researchers published a more personal investigation of music. For the study, all of the researchers sang songs from their own cultures.The team, which comprised musicologists, psychologists, linguists, evolutionary biologists and professional musicians, recorded songs in 55 languages, including Arabic, Balinese, Basque, Cherokee, Maori, Ukrainian and Yoruba. Across cultures, the researchers found, songs share certain features not found in speech, suggesting that Darwin might have been right: Despite its diversity today, music might have evolved in our distant ancestors. More

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    The Surprise Ending of ‘Dune,’ the Popcorn Bucket

    What’s in the $24.99 tub, exactly? Lindsay Moyer, a nutritionist, reviews the contents of the movie-snack “vessel.”In the “Dune” movies, a gigantic sandworm can rise from the desert and devour soldiers and military vehicles in its gaping maw. In real life, humans watching movies devour popcorn. These two ideas have been combined to spawn the “Dune” popcorn bucket, a sandworm-shaped tub that is having a cultural moment. The bucket arrives on the heels of other recent popcorn collectibles, like the 16-inch Barbie Corvette snack holder. But is there more to these vessels than meets the eye?Lindsay Moyer thinks about popcorn. She is the senior nutritionist at the Center for Science in the Public Interest, a nonprofit consumer advocacy group focused on food systems and healthy eating. She sat down with The New York Times to discuss what she sees when she considers “Dune: The Popcorn Bucket.” This interview has been edited and condensed for clarity.Have you seen the “Dune” popcorn bucket?I’ve seen photos. I haven’t seen it in real life.First impressions?It looks pretty wild. It looks like it would actually slow you down in terms of eating. It doesn’t seem ideally designed to serve yourself popcorn out of.Because it is shaped like a worm’s mouth?Yeah, because of all the stuff sticking out of it.Do you like popcorn?We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Napoleon Didn’t Really Shoot Cannons at Egypt’s Pyramids

    But scholars say that a trailer for Ridley Scott’s new film draws attention to the French emperor’s complex and lasting legacy on the study of Egypt’s cultural heritage.As Ridley Scott’s “Napoleon” opens for Thanksgiving holiday viewing, scenes from the film’s trailers are making waves. That was especially true of a sensational depiction of French troops led by Joaquin Phoenix as the French emperor firing cannons at the pyramids of Giza.“I don’t know if he did that,” Mr. Scott told The Times of London. “But it was a fast way of saying he took Egypt.”There is no evidence that French invaders launched artillery at the pyramids, or that Napoleon’s troops shot the nose off the Sphinx, another piece of popular apocrypha (evidence suggests that the nose was chiseled off centuries before Napoleon’s time).“From what we know, Napoleon held the Sphinx and the pyramids in high esteem and used them as a means of urging his troops to greater glory,” said Salima Ikram, a professor of Egyptology at the American University in Cairo. “He definitely did not take pot shots at them.”While creative license is expected in Hollywood biopics, Mr. Scott’s cinematic choices prompted memes, discussion and lighthearted dunking, including riffs about Napoleon battling mummies.Some historians have criticized Mr. Scott, but many hope “Napoleon” will generate interest in the events that inspired the film. And while Napoleon didn’t literally hurl projectiles at the pyramids, his invasion of Egypt had a profound effect on Egyptian cultural heritage and how the world understands it today.“Ultimately, the campaign is a defeat — the French lose and get kicked out,” said Alexander Mikaberidze, a professor at Louisiana State University in Shreveport who specializes in Napoleonic history. But Napoleon’s invasion also resulted in a complex scientific and cultural legacy, he added: “the beginning of Egyptology, the beginning of this fascination with Egypt and the desire to explore Egyptian history and Egyptian culture.”The title page of the the multivolume publication Napoleon commissioned upon his return from Egypt.James Smith Noel Collection/Louisiana State University at ShreveportA drawing by Dominique Vivant, later Baron Denon, who accompanied Napoleon on the Egyptian campaign, of French scholars measuring the Sphinx.James Smith Noel Collection/Louisiana State University at ShreveportThe French campaign in Egypt from 1798 to 1801 was driven by Napoleon’s colonial ambitions and a desire to stymie British influence. But in addition to amassing an army of some 50,000 men, Napoleon made the unusual decision to invite more than 160 scholars — in fields like botany, geology, the humanities and others — to accompany the invasion.The scholars documented the cultural and natural landscapes of Egypt, which they eventually compiled into a seminal 1809 publication that contained detailed entries about the Giza pyramid complex. This is one reason historians know that Napoleon visited the pyramids, as shown in Mr. Scott’s film, though it is unlikely he regarded the structures as military targets.“There was a real interest on the part of the scholars and, I think by extension, a real interest by Napoleon to be able to understand these things that Europeans hadn’t really had unfettered access to since the classical period,” said Andrew Bednarski, a visiting scholar at the American University in Cairo who specializes in Egyptology and 19th-century history.In their effort to document Egypt’s vast archaeological heritage, the French scholars seized many important artifacts, including the Rosetta Stone, a rock inscribed with three languages that proved instrumental in deciphering ancient Egyptian hieroglyphs. The stone and many other spoils ended up in British hands after the French hold on Egypt collapsed in 1801. By then, Napoleon had returned to France.Following the failed campaign, word of Egypt’s cultural wonders spread across Europe and powered a new wave of global Egyptomania. This insatiable appetite for Egyptian antiquities has resulted in centuries of exploration, excavation and exploitation of the region’s vast material culture. Since Napoleon’s invasion, countless artifacts have been removed from Egypt by prospectors and traders, many through clandestine and outright criminal channels.The Rosetta Stone, on view at the British Museum in London, was one of the spoils of Napoleon’s Egypt campaign.Tom Jamieson for The New York TimesThe Nefertiti bust, found in Egypt by German archaeologists in 1912.Michael Sohn/Agence France-Presse — Getty ImagesAs a result, many of Egypt’s greatest treasures, including the Rosetta Stone and the bust of Nefertiti, are in museums and private collections far from home. Egypt’s antiquities community has been working for years to repatriate as many artifacts as possible, with some success, while also developing new strategies to protect its cultural legacy within the nation’s borders.“There are more site management plans, an increase in museums and an upsurge in media coverage of antiquities, which is geared not only to attract tourists but also to fostering national pride and educating the general Egyptian public as to the significance of their heritage,” Dr. Ikram said.Egypt has also been confronting a resurgence of looting in recent years as a result of domestic instabilities. The Antiquities Coalition, a U.S.-based nonprofit, estimated that following the 2011 revolution, about $3 billion worth of relics had been illegally smuggled out of Egypt. The Institute of Egypt, a research center that Napoleon established in Cairo during his invasion, burned down in 2011 during the tumult of the Arab Spring. Erosive forces such as pollution and the effects of climate change, including extreme weather, pose another threat to Egypt’s monuments and artifacts.Napoleon’s ill-fated campaign ignited the modern demand for Egyptian antiquities that still rages today. Mr. Scott’s vision of Napoleon shooting cannons at the pyramids of Giza is just a continuation of this longstanding impulse to co-opt Egyptian symbols and market them to a new audience. Many experts have decried the inaccuracies in the film — prompting an expletive-laden response from Mr. Scott. But some see in “Napoleon” the opportunity to revisit the polarizing French emperor’s lasting effects on the world.“Anything that might spark people’s interest in the history of Egyptology, the effects of colonialism around the world, the Enlightenment — any of those things — I think is only positive,” Dr. Bednarski said. More

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    What James Cameron Wants to Bring Up From the Titanic

    Preservationists such as Robert D. Ballard have long clashed with salvors such as Paul-Henri Nargeolet, who died in June on the Titan submersible. Is a third way possible?Ocean experts have long clashed over whether artifacts from the world’s most famous shipwreck should be retrieved for exhibits that could help people better understand the Titanic tragedy or whether they should be left untouched in the sea’s depths as a monument to the more than 1,500 people who lost their lives. James Cameron, known for his 1997 movie “Titanic,” sees himself as negotiating a middle path through this complicated and often emotional dispute.Mr. Cameron dove 33 times to the shipwreck from 1995 through 2005, giving him a window on its condition and likely fate. His perspective is timely because the United States government recently sought to exert control over the wreck, raising questions about whether a company that has recovered more than 5,500 artifacts will be allowed to gather more.Mr. Cameron’s views are also deeply personal. He often debated the retrievals with Paul-Henri Nargeolet, a French submariner who died in June while descending to the shipwreck in the Titan submersible. Mr. Nargeolet also directed underwater research for RMS Titanic Inc., the company that holds the exclusive salvage rights to the ship and its artifacts.Mr. Cameron recently answered questions by email from The New York Times about his recovery views, the Titanic’s future and the Titan submersible. This conversation has been edited for clarity and brevity.Did you see signs of natural decay during your 10 years of Titanic dives?We’ve seen significant deterioration to thin-walled structures such as the deckhouse (the uppermost deck above the boat deck) and the forward mast. It was intact (in its fallen position) in 2001 but partially collapsed in 2005. New imaging by the Magellan company in 2022 shows that it has completely collapsed and broken open.However, we’ve not seen any significant deterioration to the vast majority of the wreck, such as the hull plates. Their steel is one and a half inches thick. I believe the plates will still be standing for another two centuries at least.How about damage by visitors? Anything obvious?Based on my experience maneuvering around the wreck, and landing on top of it, the submersibles do nothing of significance. Up top, a submersible weighs several tons but down there, in order to fly around, it must be neutrally buoyant, which means it touches down with only a few pounds of force. Besides, anything humans do is trivial compared to the relentless deterioration caused by biological activity, which goes on year after year. The Titanic is being eaten by living colonies of bacteria. They love it when humans drop giant piles of steel into the deep ocean, which we do with some regularity, especially in wars. It’s a feast for them.A still from the 2003 documentary, “Ghosts of the Abyss,” directed by Mr. Cameron, during a visit to the Titanic wreckage.Walt Disney Pictures/AJ Pics, via AlamyOn the Titanic’s artifacts, you describe yourself as a centrist between preservationists such as Robert D. Ballard and salvors such as Paul-Henri Nargeolet, who died in June on the Titan submersible. How so?On one hand, I think it’s good to recover artifacts from the debris field. When Titanic broke in two at the surface, it became like two great piñatas. Over square miles, we see plates and wine bottles, suitcases, shoes — things people carried with them, touched and wore.That humanizes the story and reminds us that the tragedy has a human face. So many artifacts have been recovered that poignantly connect us to this history — like the bell from the crow’s nest which was rung three times by lookout Frederick Fleet when he first spotted the iceberg. Now, millions of museumgoers can see it with their own eyes. I’ve even rung it myself. And there are so many examples of Titanic’s elegance — fine china, beaded chandeliers, the cherub statue from the Grand Staircase. It’s the ongoing public interest in these things that keeps the history alive, now, 111 years after the sinking. A gray area that leaves me torn is whether we should recover artifacts from inside the bow and stern sections. One case I find compelling is recovery of the Marconi set. This wireless system sent the SOS signal that brought the rescue ship Carpathia to Titanic’s exact coordinates, and arguably saved the lives of over 700 people.The Titanic’s wireless set was unique, very different from others in its day. I’ve flown my tiny remotely operated vehicles inside to survey the Marconi rooms, so we know where everything is and have done computer reconstructions.But to actually put that instrument on public display would be very moving for millions of museumgoers. If it could be recovered without any harm done to the outer appearance of the wreck, I’d be in favor, because that area of the ship is deteriorating fast and within a few years the Marconi set will be buried deep inside the ruins, unrecoverable.So anything goes?Where I personally draw the line is changing the look of the wreck — such as raising its iconic bow (where Jack and Rose stood in the movie) or removing the mighty anchors or taking the bronze telemotor from the bridge where Quartermaster Hitchens desperately spun the ship’s wheel trying to avoid the iceberg. All these recoveries have been discussed by somebody at some point over the last quarter century. I think we shouldn’t take anything from the bow and stern sections that would disfigure them. They should stand as monuments to the tragedy.Paul-Henri Nargeolet, the French submariner who died in June while descending to the Titanic shipwreck in a submersible, at a Titanic exhibition in Paris in 2013.Joel Saget/Agence France-Presse — Getty ImagesYou knew Mr. Nargeolet quite well. Did you have any disagreements with him and his company’s approach to artifact recovery?He was a legendary sub pilot and explorer, and we spent many exciting hours going over our Titanic videos and comparing notes. He recovered many of the artifacts, such as the crow’s nest bell, that I find so moving in the various exhibits around the world.That said, I disagreed with him about some of his plans to recover such things as the bow anchors, though it was always a friendly discussion. I’m glad some of those plans never came to fruition.Around 2017, you joined with Dr. Ballard and the National Maritime Museum in Greenwich, London, in an unsuccessful attempt to buy the collection of Titanic artifacts and move them to Belfast, where the ship was built. Why? And would you try again if RMS Titanic once again declared bankruptcy?Our concern at the time was that the collection could have been bought by a rich private collector and disappear from the public’s view. These artifacts belong to the world, as part of our shared cultural heritage — our collective history — and the artifacts help keep that history alive and the tragedy palpable. But only if they can be seen, and emotionally felt, through public access. If the collection is put at risk again, down the line, I would hope to have a voice in keeping it publicly accessible.What do you make of the federal government’s recent effort to exert control over the Titanic?The Titanic lies in international waters. I’m sure this tussle will go on indefinitely.Do you think the Titan disaster will have an impact on Titanic visitors?Do I believe it will stop people from wanting to witness Titanic in person? Absolutely not. Human curiosity is a powerful force, and the urge to go and bear witness with one’s own eyes is very strong for some people, myself included.But citizen explorers must be more discerning about who they dive with. Is the sub fully certified by a recognized bureau? What is the safe operating record of the submersible company? These are the kinds of questions they need to ask.Would you dive again?I would get in a sub tomorrow — if it was certified, like Woods Hole Oceanographic’s storied Alvin sub, or the subs built by Triton submersibles. But there’s no rush to do anything. That familiar image of the bow will still be there, as it is, for another half century at least. More

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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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    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

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    Why Do We Listen to Sad Songs?

    When Joshua Knobe was younger, he knew an indie rock musician who sang sorrowful, “heart-rending things that made people feel terrible,” he recalled recently. At one point he came across a YouTube video, set to her music, that had a suicidal motif. “That was the theme of her music,” he said, adding, “So I had this sense of puzzlement by it, because I also felt like it had this tremendous value.”Listen to This ArticleFor more audio journalism and storytelling, More