Beginning Of Song Research Articles

Panar tradition and Pulavar tradition

The literature within it is the most important reason for the rise of Tamil as a separate classical language. Poets play a major role in the creation of such literature. Those who created literature before poets were singers. The performers are farm based artists. The organizer of the fund was called Panar. The one who played the finger according to the man was called Virali and the one who performed the koothu was called Koothar. Artists who lived during the Sangam period were collectively called Pan. Literary references to singers are available in all five volumes. Poetry melting is likely to have occurred from the first natural phenomena of Nadukal worship. References to singers are more available during the Sangam period. Thus, there is a place for the singers to explore the sense of worship and character through the pan song found in Nadukal worship. This study is performed on the assumption that the creation of poets came from the creation of the poet. In Sangam literature the beginning of some songs is like the beginning of an oral song. This article sets out to explore how the creation of poets came to be the way poets came to be with the diversity of poets 'biographies and poets' resemblance. The purpose of this article is to examine the Panar tradition and the Pulavar tradition through the songs sung by the Panars in Sangam literature.

Neural correlates of vocal initiation in the VTA/SNc of juvenile male zebra finches

Initiation and execution of complex learned vocalizations such as human speech and birdsong depend on multiple brain circuits. In songbirds, neurons in the motor cortices and basal ganglia circuitry exhibit preparatory activity before initiation of song, and that activity is thought to play an important role in successful song performance. However, it remains unknown where a start signal for song is represented in the brain and how such a signal would lead to appropriate vocal initiation. To test whether neurons in the midbrain ventral tegmental area (VTA) and substantia nigra pars compacta (SNc) show activity related to song initiation, we carried out extracellular recordings of VTA/SNc single units in singing juvenile male zebra finches. We found that a subset of VTA/SNc units exhibit phasic activity precisely time-locked to the onset of the song bout, and that the activity occurred specifically at the beginning of song. These findings suggest that phasic activity in the VTA/SNc represents a start signal that triggers song vocalization.

The songbird as a percussionist: syntactic rules for non-vocal sound and song production in Java sparrows.

Music and dance are two remarkable human characteristics that are closely related. Communication through integrated vocal and motional signals is also common in the courtship displays of birds. The contribution of songbird studies to our understanding of vocal learning has already shed some light on the cognitive underpinnings of musical ability. Moreover, recent pioneering research has begun to show how animals can synchronize their behaviors with external stimuli, like metronome beats. However, few studies have applied such perspectives to unraveling how animals can integrate multimodal communicative signals that have natural functions. Additionally, studies have rarely asked how well these behaviors are learned. With this in mind, here we cast a spotlight on an unusual animal behavior: non-vocal sound production associated with singing in the Java sparrow (Lonchura oryzivora), a songbird. We show that male Java sparrows coordinate their bill-click sounds with the syntax of their song-note sequences, similar to percussionists. Analysis showed that they produced clicks frequently toward the beginning of songs and before/after specific song notes. We also show that bill-clicking patterns are similar between social fathers and their sons, suggesting that these behaviors might be learned from models or linked to learning-based vocalizations. Individuals untutored by conspecifics also exhibited stereotypical bill-clicking patterns in relation to song-note sequence, indicating that while the production of bill clicking itself is intrinsic, its syncopation appears to develop with songs. This paints an intriguing picture in which non-vocal sounds are integrated with vocal courtship signals in a songbird, a model that we expect will contribute to the further understanding of multimodal communication.

Female serin (Serinus serinus) responses to song do not favour the predominant song syntax

The predominant syntax of the serin song is sequential, whereby nonrepeated syllables follow a well-organised circular structure. This is an evolutionarily derived condition in serins, as most congener species use relatively more syllable repetitions. Repetition of syllables persists as a minor part of serin song, mostly at the beginning of songs. We investigated the possible existence of a female preference selecting for sequential syntax in the serin that could, explain its preponderance. Female preferences were assessed by analysis of their vocal responses and their operant eliciting of playbacks. Contrary to prediction, females tended to respond more to repetitive syntax, when choosing between the two natural serin syntaxes. This result could, however, be due to the syntactical and phonological similarities of the repetitive syntax and the species contact calls. When controlling for this possibility by giving the choice between repeated and sequential songs constructed from the same syllables in a second experiment, females expressed no preference. Taken together these experiments fail to link female preferences to the evolution of the serin sequential syntax. This result is discussed in the context of paucity of the evidence for a role of female choice in the evolution of song syntax in passerines.

The Seasons of Bird Song the Beginning of Song in Spring

The Seasons of Bird Song the Beginning of Song in Spring