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First published online January 5, 2005
Journal of Experimental Biology 208, 297-308 (2005)
Published by The Company of Biologists 2005
doi: 10.1242/jeb.01378
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Vocal tract filtering and sound radiation in a songbird

Brian S. Nelson1,*, Gabriël J. L. Beckers2,3 and Roderick A. Suthers1,3

1 Department of Biology, Indiana University, Bloomington, Indiana, 47405, USA
2 Behavioural Biology, Institute of Biology, Leiden University, PO Box 9516, 2300RA, Leiden, The Netherlands
3 School of Medicine, Indiana University, Bloomington, Indiana, 47405, USA



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Fig. 1. (A) Illustration of how a variable frequency resonance filter might `track' fundamental frequency (solid vertical lines) as beak gape increases (as conceived by Hoese et al., 2000Go). (B) Illustration of how a filter with a single cut-off frequency near 4 kHz that is controlled by beak gape (solid lines) might function to attenuate tracheal resonances (broken lines) that occur above ~4 kHz. Beak gape increases from the left graph to the right graph.

 


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Fig. 2. Illustration showing where a small speaker was inserted into the trachea, how beak gape was varied, and how subjects were rotated with respect to microphone positions. Beak gape was measured as the distance between the tips of maxilla and mandible.

 


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Fig. 3. Representative spectra of frequency sweeps recorded from two subjects (colored lines, 358 and 430) and spectra obtained after placing a silastic plug into the glottis and closing the beak (0 mm, black lines). Spectra are referenced to peak amplitude (1–10 kHz). Spectra obtained for subjects 390 and BB under these same conditions are similar (see Figs 4, 5, 6, 7).

 


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Fig. 4. Vocal tract resonances emphasize sound frequencies near ~2 and 5.5 kHz. (A) Vocal tract resonances estimated as the difference between a spectrum obtained from the speaker mounted by itself (black line at zero) and spectra recorded after inserting the port of the speaker into the trachea, setting beak gape at 5 mm, and orienting each subject towards the microphone (0°, colored lines). (B) Vocal tract resonances estimated from recordings obtained at a distance of 15 cm from horizontally oriented subjects. The normal condition represents a trachea length that was deemed as natural. The trachea was then shortened or lengthened by gently pushing or pulling on the cut end of the trachea. (C) Vocal tract resonances estimated as in B after removing 5 mm or 8 mm segments from the exposed portion of the trachea. Results for subjects 390 and BB are similar. Spectra in (A) are noisy (rippled) because these recordings were obtained at a distance of 90 cm. Spectra in (B) and (C) are less noisy because these recordings were obtained at a distance of 15 cm.

 


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Fig. 5. Vocal tract resonances do not vary with beak gape below ~4 kHz. Instead decreases in beak gape attenuate sound frequencies between ~4 and 7.5 kHz. (A) Spectra obtained for different beak gapes plotted relative to a spectrum obtained with a maximum beak gape (11 mm). (B) Standard deviations (S.D.) calculated across spectra displayed in A.

 


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Fig. 6. Vocal tract resonances do not vary below ~5 kHz regardless of whether the orientation of the maxilla or mandible is held constant (see Fig. 5A for comparison). Spectra obtained under these two conditions vary above ~5 kHz, however these differences can likely be attributed to differences in head diameter or differences in vertical head orientation. (A) Spectra obtained for different beak gapes plotted relative to a spectrum obtained with a maximum beak gape (11 mm). (B) Standard deviations (S.D.) calculated across spectra displayed in A.

 


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Fig. 7. We observed substantial changes in amplitude at 6.5 kHz as beak gape was varied between 0 and 11 mm. Amplitude increases linearly with beak gape at 6.5 kHz but is plotted on a logarithmic scale (dB). Amplitude at this frequency across all subjects can be approximated as A=–5+32 log(B), where A is amplitude (dB) and B is beak gape (broken line). Amplitude values are plotted relative to those obtained with a closed beak (0 mm).

 


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Fig. 8. Sound radiates from subjects in a relatively simple manner and a single amplitude decrement of variable width (degrees) and depth (dB) near ~130° explains most changes. Plotted are amplitudes at 2, 4 and 8 kHz extracted from spectra of recordings obtained from subjects with a 5 mm beak gape. Measurements are averaged across each hemifield (0–171°) and are normalized relative to 0°.

 


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Fig. 9. Acoustic output becomes more directional as sound frequency increases and as beak gape increases. Directionality calculated as S.D. across 360° (N=40) is plotted independently for each beak gape (colored lines) and as a function of sound frequency. Broken lines at 3 dB are included as references (see text).

 


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Fig. 10. Acoustic output became more directional when the microphone was lowered 20° but became less directional when the microphone was elevated 20°. Directionality (S.D.) was calculated as in Fig. 9.

 


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Fig. 11. (A) Second harmonics (2f0) in Florida `tow-hee' calls have relatively low amplitudes. These results suggest that harmonics with frequencies above ~4 kHz may be strongly attenuated. Illustrated are the mean relative amplitudes (thick lines) of harmonics in calls produced by 36 Florida subjects (N=1067). Thin lines represent the addition or subtraction of one standard deviation. (B) Representative time-frequency spectrograms of two Florida tow-hee calls, measurements of beak gape obtained from video recordings, and amplitude traces for each call.

 


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Fig. 12. Towhees tend to produce low sound frequencies in `tow-hee' calls with a small beak gape but produce high sound frequencies with a large beak gape. Plotted are measurements of beak gape and measurements of peak sound frequency obtained from audio frames corresponding with video frames. (A) Calls recorded in Florida (362 frames from 50 calls produced by seven subjects). (B) Calls recorded in Indiana (854 frames from 97 calls produced by 6 subjects). Sound frequencies above the dashed line (~3.75 kHz) seem to be attenuated as towhees close their beaks (Fig. 5). Arrows depict directional pressures that are described in the text.

 


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Fig. 13. Schematic time-frequency spectrogram illustrating how the harmonics of notes in vocalizations with frequencies between ~4 and 8 kHz (i.e., harmonics of fundamental frequencies between ~2 and 4) might degrade temporal patterns across preceding or subsequent notes when these preceding or subsequent notes are produced with fundamental frequencies between ~4 and 8 kHz. (A) Illustration where second harmonics are `weakly attenuated' between ~4 and 8 kHz. Arrows point to where harmonics occur and how the frequencies of these harmonics correspond with hypothetical sound frequency channels defined on the left side of the figure. (B) Illustration where second harmonics are `strongly attenuated' between ~4 and 7.5 kHz.

 

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© The Company of Biologists Ltd 2005