CSIRO PUBLISHING
Emu, 2013, 113, 161–167
http://dx.doi.org/10.1071/MU12099
Chatter-call harmonics in the North Island Saddleback:
do they play a role in ranging?
Joseph F. Azar A,B, Ben D. Bell A and K. C. Burns A
A
Centre for Biodiversity & Restoration Ecology, School of Biological Sciences, Victoria University of Wellington,
PO Box 600, Wellington 6041, New Zealand.
B
Corresponding author. Email: azar.joseph@gmail.com
Abstract. Birds that counter-sing for communication and territorial maintenance need to localise the source of sound in
order to promote an appropriate intraspecific response. Here, we investigate the role of harmonics in the chatter call of the
North Island Saddleback (Philesturnus rufusater). We test whether the relative amplitude of harmonics serves as a distance
cue, and whether a change of the harmonic composition of the chatter call has an effect on bird’s response and its likely ability
to estimate the distance of the signalling individual. North Island Saddlebacks exhibited stronger responses to playback songs
with more relative energy within higher harmonics, suggesting that these are perceived as coming from a nearby individual.
North Island Saddlebacks took longer to respond and counter-sang less to chatter calls with more relative energy in lower
harmonics, suggesting that they were perceived as coming from a distant bird. We also found that North Island Saddlebacks
responded differently to songs from which different harmonic frequencies were removed (muted). This study reveals the
ability of the North Island Saddleback to differentiate between calls with different harmonic composition and proposes that
harmonics are important as distance cues.
Additional keywords: bird song, Philesturnus rufusater, playback.
Received 22 June 2012, accepted 20 November 2012, published online 21 February 2013
Introduction
Acoustic signals play a significant role in animal behaviour,
conveying information about signalling individuals involved in
intraspecific interactions, such as repelling rivals in territorial
defence or indicating the fitness of singing males to females
(Krebs et al. 1978; Catchpole et al. 1984; Buchanan and Catchpole 1997; Slater 2003; Catchpole and Slater 2008). The distance
of a signaller has biological significance affecting interactions
within and between sexes, and transmission through the environment modifies the signal, giving receivers cues to the distance
of the signaller (Catchpole and Slater 2008). For bird song, the
receiver should be able to use these cues to estimate the distance
of the signalling individual, a behaviour known as ranging
(McGregor and Krebs 1984). Correct estimation of distance is
important in determining the response of the receiver because it
can lead to avoidance of unnecessary or dangerous interactions,
or to the better location of a mate, or it may promote aggressive
responses, to defend a territory when a rival is nearby (Richards
1981; McGregor et al. 1983; McGregor and Krebs 1984; Naguib
1995).
Few studies have focussed on the effect of frequency in
ranging, although relative intensities of high frequencies have
been used to estimate the distance of a signaller, for example
in Carolina Wrens (Thryothorus ludovicianus) (Naguib 1995,
1997b). The combination of frequency-dependent attenuation
and reverberation can also give information about the distance
Journal compilation BirdLife Australia 2013
of the signaller (Naguib et al. 2000). Again, few studies have
focussed on the role of harmonics (notes with multi-frequency
bands) in ranging (e.g. Aubin and Jouventin 2002), although other
aspects of the function of harmonics have been investigated. Both
Zebra Finches (Taeniopygia guttata) and Budgerigars (Melopsittacus undulatus) were able to detect slight mistuning of one of
the harmonics in a simulated female Zebra Finch contact call
(Lohr and Dooling 1998). In Whooping Cranes (Grus americana)
harmonics provide acoustic cues to individuality and body size
(Fitch and Kelley 2000), and in Red-winged Blackbirds (Agelaius
phoeniceus) lower frequency elements of song are essential for
species recognition whereas high-frequency elements are not
(Brenowitz 1982).
As the sound of a bird’s vocalisation travels in the habitat, it is
subject to degradation. Changes that accumulate in the songs are
the result of reverberation, amplitude fluctuation and frequencydependent attenuation (Slabbekoorn et al. 2002), with higher
frequencies being more susceptible to degradation (Padgham
2004). Playback experiments on birds in natural conditions
demonstrate that reverberated songs are judged to be further
away than undegraded songs (Fotheringham et al. 1997). Birds
approach closer towards a loudspeaker playing reverberated song
or even fly beyond the loudspeaker (Wiley and Godard 1996). The
relative intensities of high frequencies can also be used in avian
song-ranging (Naguib 1995, 1997a). Combinations of reverberation and frequency-dependent attenuation may therefore serve as
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162
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distance cues (Naguib 1996). Amplitude varies more with
weather than reverberation or frequency-dependent attenuation
(Richards 1981), so changes in amplitude may provide a less
reliable clue for song-ranging. Nevertheless, some species use
overall amplitude as a relative cue for ranging conspecific songs
(Naguib 1997a; Nelson 2000).
Different syllables in bird songs can have different spectrographic forms, whistles being a common type in which the energy
is concentrated at a single frequency that may change temporally
during utterance. Another type comprises multi-frequency bands
of harmonics where the energy is distributed into more than one
frequency, and where higher frequencies are integer multiples of
the fundamental frequency. The North Island Saddleback (Philesturnus rufusater) is a member of the endemic New Zealand
wattlebird family, the Callaeatidae (or Callaeidae). North Island
Saddlebacks stay within and defend their territories year-round.
Two subdivisions of loud North Island Saddleback song are
recognised: male rhythmical songs, used exclusively by siteattached pair-bonded adult males, with each male having 1–4
patterns (Jenkins 1978), and chatter calls, which are uttered by
both sexes throughout the year and are the most common song
type in both paired and unpaired birds (Jenkins 1978; Parker et al.
2010). Chatter calls appear to be important in territorial maintenance and communication between territorial adults and nonterritorial juveniles (Jenkins 1978; Ludwig and Jamieson 2007).
Quiet calls are used for pair-bonding and can only be heard over
short distances, avoiding agonistic behaviour between residents
that would result from louder long-distance signalling (Jenkins
1978). Familiarity with particular male rhythmic songs affects
North Island Saddleback responses in playback experiments
(Parker et al. 2010). Hence, this study focussed on the role of
harmonics in the common chatter call, which is less likely to vary
spatially within the study area and is given by both males and
females (Jenkins 1978; Parker et al. 2010; J. F. Azar and B. Bell,
pers. obs.). The chatter call consists of a set of 3–40 repeated
notes, all of which consist of sets of harmonics (Fig. 1b). The
fundamental frequency (F0) is ~1.5 kHz, and has the lowest
energy compared with other harmonics. The first harmonic
(H1) is ~3 kHz, whereas the second harmonic (H2) is ~4 kHz
and is the dominant frequency where most of the energy in the
song is present. Higher harmonics (HH), >4.5 kHz, have lower
energy and are more susceptible to attenuation.
Pitch is the perception of frequency and, in tonal avian song,
pitch is often a direct function of the fundamental frequency (Lord
et al. 2009). It can also be determined by harmonics in the upper
frequency range that have greater energy than the fundamental,
hence pitch may be relative with respect to F0 (Lord et al. 2009).
In humans, F0 affects the judgement of both voice quality and
recognition (Handel 1995). In other primates, assessing the
identity of the caller relies on harmonic structure and harmonic
relationships, rather than on the presence of a single harmonic
frequency, for example in Japanese Macaques (Macaca fuscata)
(May et al. 1989) and Cottontop Tamarins (Saguinus oedipus)
(Weiss and Hauser 2002).
Here we explore whether the North Island Saddleback uses
harmonics as a cue for distance by observing the responses of
birds to artificially modified chatter call segments using playback
experiments. Given that higher harmonics are more susceptible to
attenuation than those at lower frequency (Padgham 2004), songs
J. F. Azar et al.
with relatively more energy in higher harmonics are predicted to
produce a greater response than songs with relatively more energy
in the lower harmonics, when broadcast with similar amplitude
and from the same distance (Brumm and Slater 2006). Further, we
investigate whether the North Island Saddleback is sensitive to
changes in the harmonic composition of its chatter call, and how it
responds to songs from which some harmonics are removed.
Because muting any of the harmonics affects the overall pitch and
the energy in the song (Darwin et al. 1994), this result in different
transmission properties of the song. We predict that modified
songs with muted harmonics will give a false cue of the broadcast
location and that this will affect the distance to which the birds
approach the speaker. Because harmonics with higher energy
transmit further, we predict that muting harmonics with high
energy (H1, H2) will have more effect on song-ranging, and that
birds will be less able to locate the speaker. Because higher
harmonic (HH) bands attenuate more when transmitted in the
forest, and the North Island Saddlebacks will be accustomed to
this, we predict that muting higher harmonics will not affect their
ability to locate the speaker.
Methods
Study site
To avoid disturbance during the height of the breeding season
(October–February), the experiments were conducted from
March to April 2011 in Zealandia, a 250-ha native-forest sanctuary surrounded by a mammal-proof fence within the city limits
of Wellington, New Zealand (4117.80 S,17445.30 E).
Playback signal design
The modified natural chatter call extracts used in the playback
experiments were recorded in 2009 from the same Saddleback
population using a Marantz PMD670 portable solid-state recorder
(Marantz Europe, Eindhoven, the Netherlands) with a sampling
frequency of 44.1 kHz and 16-bit sample size. One good-quality
recording of a chatter call was selected to produce the modified
songs using Adobe Audition 3 (Adobe San Jose, CA, USA) and
Raven Pro 1.4 software (Cornell Laboratory of Ornithology,
Ithaca, NY, USA). To standardise the stimulus and attenuation
accumulated in it, the stimulus was therefore developed from a
single call. Pseudoreplication might arise if such a single exemplar from a class of stimuli was used to test a general hypothesis
about the class itself (Kroodsma et al. 2001). However, this
study tests the specific role of harmonics as a distance cue in
chatter calls, but not the more general role of chatter calls in
communication.
We were unable to confirm the sex of birds attracted by the
playback sounds, except for those that were colour-banded
(2 males and 1 female). We conducted two experiments. For the
first experiment (Experiment 1), to test the response to modifications in harmonics intensity, two types of modification were made
(Fig. 1): (1) amplification of lower harmonics (ALH) with the
attenuation of the higher harmonics, so that the overall energy in
the song remained unchanged (Fig. 1a) and (2) amplification of
higher harmonics (AHH) with reduction of the energy in the lower
frequency harmonics. We used the unmanipulated song (Fig. 1b)
as the control. All three-treatments had the same amount of energy
Chatter call harmonics of North Island Saddleback
Emu
ALH
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Fig. 1. Spectrograms (up to 10 kHz, left) and power spectra (up to 7 kHz, right) of an 8-s sample of North Island
Saddleback chatter call, the first 5 s of which were used in playback experiments: (a) amplified lower harmonics
(ALH); (b) control (unmodified song) showing the fundamental frequency (F0) and the harmonics (H1, H2, HH) and
(c) amplified higher harmonics (AHH). The darkness of the bands in the spectrograms represents the relative
amplitude in the song.
(125 dB) but with differing amplitude distributions across the
frequency spectrum. All songs used in the playback experiments
were 5 s long. For the second experiment (Experiment 2), to test
the response to muted harmonics, the song was modified by
muting each of the harmonic bands of the F0, H1, H2 and HH
(Fig. 2); again, the songs were of 5-s duration. The same unmodified song was used as a control in both experiments.
Field protocol for playback
We conducted playback experiments on 13 birds at 13 sites, each
at least 400 m apart to provide a substantial degree of vocal
isolation between experiments. We tested three birds each day.
The two experiments were run separately: Experiment 1 was run
first, Experiment 2 began 4 days after all birds had been tested in
Experiment 1.
At each site, two speakers were set up. One speaker (A) was a
Sony portable RDPM5iP speaker (Sony Corp., Tokyo, Japan),
placed in the forest 3 m above the ground in vegetation attached to
tree branch, and used to first attract the target bird by playing
unmodified calls (from a different individual than the unmodified
calls used in the experiments), ensuring that the bird was consistently positioned at a similar distance from the second speaker
(B). The second speaker was a Mipro MA-101 (MIPRO Electronics Co., Ltd., Chiayi, Taiwan), attached to tree branch 2 m
above the ground and camouflaged by leaves to prevent the bird
from acquiring any visual cues to its location; it was used for
playback of the experimental stimuli. Calls were played back
using an iPod nano (Apple Inc., Redlands, CA) playing MP3 files
(MP3 is a compressed file type that might conceivably affect the
response of the birds to a minor degree). The two speakers were
wired to the same iPod, 15 m away from each; the researcher was
concealed in dense vegetation. Speakers were set to a constant
output volume. When the bird was within 2 m of speaker A, we
allowed 2–4 min for the bird to settle, and then one stimulus call
(one 5 s-long modified or control Chatter Call) was played from
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J. F. Azar et al.
Amplitude (dB)
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Frequency (kHz)
Fig. 2. Power spectra of four chatter call samples modified for use in Experiment 2, showing muted fundamental
frequency (F0), muted first harmonic (H1), muted second harmonic (H2) and muted higher harmonics (HH).
speaker B and the response of the birds recorded (within 2 min).
After playback of each stimulus, we waited 10–15 min (from the
conclusion of the bird’s response) then again broadcast the
unmodified song from speaker A to bring the same bird (as
monitored by researcher) back to the starting position and the
next stimulus was played (see below for details of call sequences
and responses measured). These procedures were repeated until
all the modified calls in an experiment had been played to an
individual bird. The order in which each stimulus was played to
different birds was randomised to eliminate any chance of the
targets acquiring more location cues about the source of the
sound. If on any occasion two birds were simultaneously attracted
to speaker (A), then the experiment was terminated for that site.
In Experiment 1, each subject (n = 13) received six playbacks –
two repeats of each the three chatter-call types (ALH, AHH,
Control) – presented in random order. Two responses were
measured: (1) time (s) to the first vocal response (counter-singing
the stimulus), measured from the moment of the start of the
stimulus and (2) duration of counter-song (s) in response to the
stimulus. In Experiment 2, each subject (n = 13) received five
playbacks of songs with muted harmonics (F0, H1, H2, HH,
Control) presented in random order. Five responses were measured: (1) vocal response to the stimulus (Yes, No); (2) time of the
first vocal response (s); (3) time until first flight or movement
towards the speaker (s); (4) distance (m) of the bird after 30 s and
(5) the closest distance (m) to speaker B within 2 min, measured
from speaker A. We used a marked 20-m rope to measure the
approach distance of the bird after the bird had stopped moving
toward speaker B.
The responses of birds to the modified chatter calls was
examined using a general linear model (GLM) and a Tukey’s
honestly significant difference (HSD) test to identify significant
differences between responses to each stimulus. SPSS 18 (SPSS
Inc., Chicago, IL, USA) was used to perform all statistical tests.
In both experiments, the measured responses were the dependent
variables, the stimulus and the order they were played were the
fixed factors. Bird identity was entered as a random factor to take
into account repeated-measurements on individuals and intraindividual variance (Littel et al. 1991).
Results
Experiment 1: the response to modifications in harmonics
intensity
Most birds (12 of 13) responded to the three treatments, only one
showing no interest in the playback. The response of all 12 birds
was swift and aggressive, all counter-singing to all three stimuli
soon after the stimulus had ended and then approaching the
speaker. The order in which the stimuli was played did not have
an effect on the time to first vocal response (F2,11 = 1.29, P = 0.28)
or on duration of counter-song (F2,10 = 0.83, P = 0.44). The
duration of counter-song in response to the control playback was
approximately equal to the duration of the stimulus (5 s) (Fig. 3).
There were significant differences in the response time
(F2,11 = 19.9, P = 0.03) and duration of counter-song
(F2,10 = 32.7, P < 0.01) between stimuli (Fig. 3). Birds responded
significantly faster to the AHH playback compared with the
ALH playback (Tukey’s HSD, P < 0.01), but the response was
not significantly faster than that of the control (Tukey’s HSD,
P = 0.72). Two birds counter-sang to the ALH playback 17–21 s
after the end of the stimulus. Removing these two extreme
responses from the analysis did not affect the significance of the
result (F2,9 = 11.85, P < 0.01) and birds responded faster to AHH
than ALH (Tukey’s HSD, P < 0.01). The duration of counter-song
in response to the AHH playback was significantly longer than to
the ALH playback (Tukey’s HSD, P < 0.01) and to the control
playback (Tukey’s HSD, P < 0.01) (Fig. 3).
Experiment 2: the response to muted harmonics
Most birds (12 of 13) counter-sang to the unmodified control
chatter call, whereas only four responded to playback of songs
Chatter call harmonics of North Island Saddleback
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12
Counter song duration
10
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Time (s)
Mean time (s) of the first flight toward
speaker B
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Time untill the first vocal response
6
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0
Control
Muted
H1
Muted
F0
Muted
H2
Muted
HH
Stimulus
2
Fig. 4. Box plot of the mean times (n = 12) to the first flight towards the
speaker in response to playback treatments in Experiment 2 (control, and
muted F0, H1, H2 and HH). Error bars indicate standard errors.
0
Amplified lower
harmonics
Control
Amplified higher
harmonics
Stimulus
Fig. 3. Bar chart of the time to the first vocal response, and duration of
counter-song for the 12 responding North Island Saddlebacks in Experiment 1.
Error bars indicate standard errors.
Mean distance (m) to speaker B
with muted F0, six to muted H1, one to muted H2 and three to
muted HH. Change in harmonic composition of the song by
muting selected harmonics therefore caused a significant change
in the vocal response of North Island Saddlebacks, and whether
or not they would counter-sing (F4,11 = 6.4, P < 0.01). All playback stimuli captured the attention of the targeted birds and
stimulated them to approach the speaker. The control stimulated
the birds to counter-sing after the stimulus ended and then to fly
towards speaker B within 5–10 s (Fig. 4). The mean time of the
first flight differed significantly with a change in stimulus
(F4,11 = 9.2, P < 0.01). Multiple comparisons revealed that F0,
H1 and HH playbacks stimulated the bird to search for the source
of the sound faster than H2 and the control playbacks (Tukey’s
HSD, P < 0.05). Nevertheless, there was no significant difference
between the response to F0, H1 or H2 and control stimuli
(Tukey’s HSD, P > 0.05).
All the birds moved towards speaker B after stimuli were
played (Fig. 5). The mean distance at 30 s differed with change of
stimulus (F4,11 = 54.8, P < 0.01). Distances after 2 min were also
significantly different (F4,11 = 100.36, P < 0.01). Subjects moved
significantly faster towards the speaker (expressed by the distance
at 30 s) when presented with the control and H2 songs compared
with the other playback treatments (Tukey’s HSD, P < 0.05). The
response to HH was significantly slower than the response to F0,
H2 and control playbacks (Tukey’s HSD, P < 0.05). There was no
significant difference between the response to F0 and H1 playbacks (Tukey’s HSD, P = 0.15).
In total 12 of the 13 North Island Saddlebacks were able to
locate the speaker (indicated by the final distance from the speaker
within 2 min) when presented with the control chatter call,
approaching within 2 m of speaker B or flying over it. Subjects
flew over the speaker when presented with the H2 song and
Distance after 30 sec
15
Closest distance within 2 min
10
5
0
–5
Control
Muted
F0
Muted
H1
Muted
H2
Muted
HH
Stimulus
Fig. 5. Box plot of the mean distance of North Island Saddlebacks (n = 12)
30 s after stimulus playback and mean closest distance to speaker B within
2 min of start of playback in relation to different playback treatments in
Experiment 2 (control, and muted F0, H1, H2 and HH). A negative distance
indicates that bird flew over speaker B (in response to control song type and
muted H2 only).
were a mean final distance after 2 min of 3.4 m from speaker B,
significantly different from the response to the control (Tukey’s
HSD, P < 0.05). How close birds approached the speaker in
response to the F0 song was significantly less than the distance
in response to the control and H2 playback, but greater than the
distance in response to H1 and HH playback (Tukey’s HSD,
P < 0.05). Subjects stayed a similar distance (Tukey’s HSD,
166
Emu
P = 1.00) in response to the H1 and HH playbacks, significantly
different from the response to F0, H2 and control playbacks
(Tukey’s HSD, P < 0.05).
Discussion
We found from Experiment 1 that North Island Saddlebacks had a
stronger response towards chatter calls with more relative energy
in the higher harmonics than towards chatter calls with more
energy in the lower harmonics. The former can be interpreted as
coming from a closer mate or rival, thus leading to an increased
response, as demonstrated by the shorter time to counter-sing and
the longer duration of counter-singing. The North Island Saddleback presumably modified its response according to its perception
of the proximity of the sound source in a cost-effective way, by
reducing the duration of counter-song in response to songs that
appeared to be further away or by increasing its response to songs
that appeared closer.
Songs used in the playback experiments were broadcast from
the same distance and with similar overall amplitude, allowing
similar amounts of reverberation and amplitude fluctuation to
occur, so it seems less likely that the North Island Saddleback
would obtain distance cues from these factors, as found in
previous studies showing birds useing frequency as a cue for
distance (Naguib 1995, 1997a; Naguib and Wiley 2001). Our
results suggest that the North Island Saddleback is less sensitive
to a change in relative harmonic amplitudes than to a change in
harmonic composition. All individuals responded vocally to
playback in Experiment 1, but their response varied significantly
in response to muting any of the harmonics.
North Island Saddlebacks were able to differentiate clearly
between different harmonics in chatter calls. There was variation
between vocal responses of individuals, however, although all
muted playbacks prompted the bird to look for the speaker.
Budgerigars and Zebra Finches can both detect mistuned harmonics and with greater acuity than humans, indicating that
harmonics can have an important role in communication and
might potentially encode significant information about the signaller (Lohr and Dooling 1998). Further, harmonics may be used
as vocal signatures for individual discrimination, whereas they
can also reveal such information as the age (Fitch and Kelley
2000), sex or reproductive maturity (Marion 1977; Fitch 1999)
and size of the caller, as proposed by the size exaggeration
hypothesis (Fitch 1999).
We have not addressed the specific role of each harmonic in the
perception of the song, but have rather focussed on the role of
harmonics in ranging. An unexpected result was that chatter calls
with muted H2 (maximum frequency) stimulated North Island
Saddlebacks to a faster flight towards the speaker, although the
birds failed to respond vocally and were unable to locate the
speaker. This suggests that H2 had little use in ranging but might
contain information about bird identity that stimulated the bird to
look for the source of the sound. The birds were unable to locate
the speaker with muted F0, H1 and H2 playbacks. We found no
significant difference in the final distance to speaker B across
these muted song playbacks so the complete set of harmonics
might be necessary to localise the source of the sound. Considering the high energy in the second harmonic (H2) compared with
any of the F0, H1 and HH stimuli, the North Island Saddleback
J. F. Azar et al.
appears to use amplitude as a relative cue of distance but not as an
absolute cue for ranging, because the final distance towards the
speaker was significantly lower for H2 than for any of F0, H and
HH song playback types.
Factors that may influence frequency patterns in avian song
include bill-gape and vocal track filtering. Some birds are able to
produce higher frequencies when increasing the bill-gape during
song production; this was shown in studies on White-throated
Sparrows (Zonotrichia albicollis), Swamp Sparrows (Melospiza
georgiana) (Westneat et al. 1993) and Song Sparrows (Melospiza
melodia) (Podos et al. 1995). In Zebra Finches, the fundamental
and maximum frequencies were highly correlated with bill-gape,
however this had little effect on harmonic composition (Goller
et al. 2004). Tracheal length can also affect song frequency, Fitch
(1999) proposing that tracheal elongation lowers the frequencies
of harmonics but has little effect on the fundamental frequency.
Some passerine species, such as the Trumpet Manucode (Phonygammus keraudrenii), exhibit elongated tracheae that are
assumed to lower the pitch of the vocalisations (Clench 1978).
Modification of harmonic structure might have biological implication, for example adaptation to the changing in transmission
properties of the habitat with different season (Naguib 1996), or
exaggerating a bird’s apparent size (Fitch 1999; Fitch and Hauser
2003). The effect of bill-gape and tracheal elongation on harmonics in North Island Saddleback song are not studied and worth
further investigation.
Our experiments on the North Island Saddleback support
previous studies about the role of relative frequency attenuation
in ranging (Naguib 1995), highlighting the importance of harmonics as distance cues in the North Island Saddleback chatter
call, the birds differentiating between songs with different harmonic composition and responding to them accordingly. More
detailed acoustic experiments and analysis, facilitated by developing acoustical software packages, are needed to explore further
the role of each harmonic in North Island Saddleback communication, such as their importance as cues to individuality, fitness
indicators and in individual location within the territory. Further
investigations could also extend to the more complex and varied
male rhythmical songs, where distance cues are again likely to be
of importance (Jenkins 1978; Parker et al. 2010).
Acknowledgements
We thank the Karori Sanctuary Trust, Dr Dalice Sim for statistical advice,
E. Puteri and H. Carson for assistance in the field, H. Constable for commenting on an earlier draft of the manuscript, and a Centre for Biodiversity and
Restoration Ecology Scholarship and an Ian Swingland Research Scholarship
at Victoria University for financial support.
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