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On the Humming of Whales : = Investigating Long-Term and Global Changes in Humpback Whale Song.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	On the Humming of Whales :/
其他題名:	Investigating Long-Term and Global Changes in Humpback Whale Song.
作者:	Perazio, Christina E.
面頁冊數:	1 online resource (187 pages)
附註:	Source: Dissertations Abstracts International, Volume: 83-12, Section: B.
Contained By:	Dissertations Abstracts International83-12B.
標題:	Psychobiology. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29208022click for full text (PQDT)
ISBN:	9798834006954

On the Humming of Whales : = Investigating Long-Term and Global Changes in Humpback Whale Song.
Perazio, Christina E.

On the Humming of Whales :Investigating Long-Term and Global Changes in Humpback Whale Song. - 1 online resource (187 pages)

Source: Dissertations Abstracts International, Volume: 83-12, Section: B.

Thesis (Ph.D.)--State University of New York at Buffalo, 2022.

Includes bibliographical references

The oceans are changing, becoming increasingly affected by human activities. These anthropogenic impacts are creating physical and acoustic environments that are unlike those in which most marine animals have evolved. Marine mammals use sound to forage for food, navigate, communicate, and mediate social interactions. As we inundate their acoustic world with new and loud sources of noise, they are forced to adjust their behavior. Long-lived and migratory baleen whales rely on acoustic contact with conspecifics to survive. Humpback whales, Megaptera novaeangliae, are a cosmopolitan and keystone species and serve as ecosystem engineers. Their survival is critical for healthy and functioning oceans. Despite increasing research efforts to understand the biology and behavior of whales, gaps remain in our understanding of how their impressive acoustic signals function to help them survive. By understanding how humpbacks structure their song, we can better predict how the changing Anthropocene will affect them, and we can predict the impacts on other species who similarly rely on sound for survival. With this dissertation, I aimed to contribute to accumulating knowledge of the communication system utilized by humpback whales. In particular, I was interested in discovering how frequency content, which is related to sound production and sound perception, plays a role in song change across time, geographic region, and vessel noise. Using data I collected with colleagues in the Gulf of Tribuga in Colombia between 2013-2019 and from numerous collaborators across the eastern North Pacific, my research goals were 1) to describe how song fits in to the spectral structure of the surrounding biotic and abiotic soundscape, 2) to describe and quantify differences in frequency content across the producible range and determine the predictability of that structure across populations, and 3) to compare frequency structure in areas with varying degrees of vessel noise to better understand how singers may acoustically respond to the changing ocean soundscape.I used long-term spectrograms of the soundscapes in three regions where humpback whales sing to describe how song fits in to the surrounding acoustic environment. Two of these regions are of particular interest due to their proximity to nationally protected marine areas and their minimally anthropogenically modified soundscapes: Isla Cano Biological Reserve in Costa Rica and the Gulf of Tribuga in the Colombia Pacific. The third region, Los Cabos in Mexico, represented a slightly different environment, close to a large marina. Biophony from humpback whale song, fish sounds, and snapping shrimp pulses was obvious in spectrograms, although song was less obvious in the Punta Ballena site in Mexico next to the marina. Instead, boat presence was clearly represented in that soundscape. While boats were also present in both Costa Rica and Colombia, they were less obvious. Geophony from rainfall was evident over most of the soundscape in Colombia. Across regions and soundscape profiles, bands of relatively greater intensity in song were visible, even when multiple singers were present and during boat passes. These energetic bands within song were further explored in the next two chapters. To characterize variations in the frequency content of humpback whale song, I used high-quality recordings of song in five regions throughout the eastern North Pacific Ocean: The Gulf of Tribuga and the Mutis Bay in the Colombian Pacific, the Gulf of Chiriqui in Panama, Cano Island Biological Reserve in Costa Rica, Los Cabos in Mexico, and the Monterey Bay National Marine Sanctuary in California. Histograms described the number of times particular peak frequencies were identified in songs and power spectral density (PSD) plots depicted the received intensity across the frequency range. There were differences in the exact frequency ranges of peak bands across locations and years, but the general picture was one of predictability. Acoustic energy was consistently concentrated in 2-3 bands of frequency (i.e., peak frequency bands). A middle band of frequencies was consistently significantly greater in intensity relative to higher and lower bands and varied the least in terms of frequency range across all songs. These findings contribute to mounting evidence that song changes overtop universal acoustic prototypes.Finally, I examined the peak frequency content in humpback whale song in regions characterized by varying amounts of vessel noise using data from four regions: The Gulf of Tribuga in the Colombian Pacific, Cano Island Biological Reserve in Costa Rica, Los Cabos in Mexico, and the Monterey Bay National Marine Sanctuary in California. PSD plots showed that acoustic energy was distributed into discrete bands of peak frequency, regardless of location or noise class (no, medium, high). Further, the frequency values of the most intensely energetic peaks were similar across noise classes. Interestingly, songs in areas where boats were more commonly detected tended to have a lower maximum peak frequency, suggesting that singers concentrate energy into a narrower frequency range in response to vessel noise. There appears to be a complex relationship in song between innate frequency templates, acoustical flexibility, and a changing soundscape that research is only just starting to disentangle.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798834006954Subjects--Topical Terms:

555678
Psychobiology.
Subjects--Index Terms:

Anthropogenic noiseIndex Terms--Genre/Form:

542853
Electronic books.

On the Humming of Whales : = Investigating Long-Term and Global Changes in Humpback Whale Song.
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By understanding how humpbacks structure their song, we can better predict how the changing Anthropocene will affect them, and we can predict the impacts on other species who similarly rely on sound for survival. With this dissertation, I aimed to contribute to accumulating knowledge of the communication system utilized by humpback whales. In particular, I was interested in discovering how frequency content, which is related to sound production and sound perception, plays a role in song change across time, geographic region, and vessel noise. Using data I collected with colleagues in the Gulf of Tribuga in Colombia between 2013-2019 and from numerous collaborators across the eastern North Pacific, my research goals were 1) to describe how song fits in to the spectral structure of the surrounding biotic and abiotic soundscape, 2) to describe and quantify differences in frequency content across the producible range and determine the predictability of that structure across populations, and 3) to compare frequency structure in areas with varying degrees of vessel noise to better understand how singers may acoustically respond to the changing ocean soundscape.I used long-term spectrograms of the soundscapes in three regions where humpback whales sing to describe how song fits in to the surrounding acoustic environment. Two of these regions are of particular interest due to their proximity to nationally protected marine areas and their minimally anthropogenically modified soundscapes: Isla Cano Biological Reserve in Costa Rica and the Gulf of Tribuga in the Colombia Pacific. The third region, Los Cabos in Mexico, represented a slightly different environment, close to a large marina. Biophony from humpback whale song, fish sounds, and snapping shrimp pulses was obvious in spectrograms, although song was less obvious in the Punta Ballena site in Mexico next to the marina. Instead, boat presence was clearly represented in that soundscape. While boats were also present in both Costa Rica and Colombia, they were less obvious. Geophony from rainfall was evident over most of the soundscape in Colombia. Across regions and soundscape profiles, bands of relatively greater intensity in song were visible, even when multiple singers were present and during boat passes. These energetic bands within song were further explored in the next two chapters. To characterize variations in the frequency content of humpback whale song, I used high-quality recordings of song in five regions throughout the eastern North Pacific Ocean: The Gulf of Tribuga and the Mutis Bay in the Colombian Pacific, the Gulf of Chiriqui in Panama, Cano Island Biological Reserve in Costa Rica, Los Cabos in Mexico, and the Monterey Bay National Marine Sanctuary in California. Histograms described the number of times particular peak frequencies were identified in songs and power spectral density (PSD) plots depicted the received intensity across the frequency range. There were differences in the exact frequency ranges of peak bands across locations and years, but the general picture was one of predictability. Acoustic energy was consistently concentrated in 2-3 bands of frequency (i.e., peak frequency bands). A middle band of frequencies was consistently significantly greater in intensity relative to higher and lower bands and varied the least in terms of frequency range across all songs. These findings contribute to mounting evidence that song changes overtop universal acoustic prototypes.Finally, I examined the peak frequency content in humpback whale song in regions characterized by varying amounts of vessel noise using data from four regions: The Gulf of Tribuga in the Colombian Pacific, Cano Island Biological Reserve in Costa Rica, Los Cabos in Mexico, and the Monterey Bay National Marine Sanctuary in California. PSD plots showed that acoustic energy was distributed into discrete bands of peak frequency, regardless of location or noise class (no, medium, high). Further, the frequency values of the most intensely energetic peaks were similar across noise classes. Interestingly, songs in areas where boats were more commonly detected tended to have a lower maximum peak frequency, suggesting that singers concentrate energy into a narrower frequency range in response to vessel noise. There appears to be a complex relationship in song between innate frequency templates, acoustical flexibility, and a changing soundscape that research is only just starting to disentangle.
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710 2 $a ProQuest Information and Learning Co. $3 783688
710 2 $a State University of New York at Buffalo. $b Evolution, Ecology and Behavior. $3 3428509
773 0 $t Dissertations Abstracts International $g 83-12B.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29208022 $z click for full text (PQDT)