Abstract

Male fin whales sing by producing 20-Hz pulses in regular patterns of inter-note intervals. While singing, fin whales may also alternate the frequency ranges of their notes. Different song patterns have been observed in different regions of the world's oceans. New song patterns suddenly emerging in an area have been hypothesized to either be indicators of new groups of whales in the area or signs of cultural transmission between groups. Since the status of fin whales around Hawaii is unknown and visual surveys are expensive and difficult to conduct in offshore areas, passive acoustic monitoring has been proposed as a way to monitor these whales. We used passive acoustic recordings from an array of 14 hydrophones to analyze the song patterns of 115 fin whale encounters made up of 50,034 unique notes off Kauai, Hawaii from 2011--2017. Fin whale singing patterns were more complicated than previously described. Fin whales off Hawaii sang in five different patterns made of two 20-Hz note types and both singlet and doublet inter-note interval patterns. The inter-note intervals present in their songs were 28/33 s for the lower frequency doublet, 30 s for the lower frequency singlet, 17/24 s for the higher frequency doublet, 17 s for the higher frequency singlet, and 12/20 s for the doublet that alternated between both note types. Some of these song patterns were unique to these fin whales in Hawaiian waters, while others were similar to song patterns recorded from fin whales off the U.S. west coast. Individual fin whales often utilized several different song patterns which suggests that multiple song patterns are not necessarily indicators of different individuals or groups. The dominant song pattern also changed over these years. Cultural transmission may have occurred between fin whales in Hawaiian waters and off the U.S. west coast, which has resulted in similar songs being present at both locations but on lagged timescales. Alternatively, groups occupying the Hawaiian waters could shift over time resulting in different song patterns becoming dominant. This work has implications for the population structure and behavior of Hawaii fin whales.

Highlights

  • Fin whales (Balaenoptera physalus) produce a low-frequency call sequence that is thought to be a male song and has been recorded in every ocean basin (e.g., Watkins, 1981; Watkins et al, 1987; Croll et al, 2002)

  • 115 fin whale tracks containing 50,034 unique A and B notes passed through the Pacific Missile Range Facility (PMRF) study area

  • Fin whales sang in five different patterns made up of A and B note type pairings in both singlet and doublet inter-note intervals (INIs) patterns

Read more

Summary

Introduction

Fin whales (Balaenoptera physalus) produce a low-frequency call sequence that is thought to be a male song and has been recorded in every ocean basin (e.g., Watkins, 1981; Watkins et al, 1987; Croll et al, 2002). The measured source levels (SLs) of these note types are 160–190 dB re 1 μPa at 1 m (Watkins et al, 1987; Charif et al, 2002; Širovicet al., 2007; Weirathmueller et al, 2013) with the A note being 3–7 dB lower in amplitude (Clark et al, 2002; Weirathmueller et al, 2013) These notes are very intense and have the potential to be detected at great distances, but Watkins (1981) observed that most fin whales only vocalized when they were within approximately 15– 20 km of another whale, so the intended communication range for these notes is still unknown. Since they are so short, these notes are often referred to as pulses

Methods
Results
Conclusion
Full Text
Published version (Free)

Talk to us

Join us for a 30 min session where you can share your feedback and ask us any queries you have

Schedule a call