To understand the communicative functions of any vocalization it is important to first classify, describe, and measure the elements of that vocalization. Mexican (Poecile sclateri) and boreal (P. hudsonica) chickadees both produce a name-sake chick-a-dee call. Here, the note types present in samples of Mexican and boreal chick-a-dee calls are identified and described. Frequency and temporal measures of each note type are analyzed and show that frequency measures may be useful for note-type and individual discrimination. Call syntax is also analyzed and shows that both Mexican and boreal chickadees produce the notes within their chick-a-dee calls in a fixed order with the potential for any note type to be repeated or omitted within the sequence. This work provides a foundation for future studies aimed at understanding the communicative significance of this call within these species, as well as for comparative work on the chick-a-dee call among all chickadee species.

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How important is the player???s vocal tract in clarinet and saxophone performance? Acoustician???s opinions have ranged from ???negligible??? [Backus (1985), JASA 78, 17] to ???vocal tract resonance frequencies must match the frequency of the required notes??? [Clinch et al. (1982), Acustica 50, 280]. Musicians??? opinions are similarly varied. To understand how the tract-reed-bore system interacts, acoustical measurements of performers??? vocal tracts during playing were made using measurement heads mounted in the mouthpieces of a clarinet and a tenor saxophone. Acoustic impedance spectra of the tenor and soprano saxophone bores were also measured for all standard fingerings, and some others. For fingerings high in the tenor saxophone???s second register, bore impedance peaks downstream decrease with increasing pitch. Above the first 2.7 octaves, peak values fall below 30 MPa.s.m-3 and this ends the standard range available to amateurs. To play the higher altissimo notes, experts produced strong vocal tract resonances upstream with impedances 10-40 MPa.s.m-3 tuned to sound the desired note. While expert saxophonists adjust their vocal tract thus for altissimo playing, inexperienced players do not, and consequently cannot produce these notes. The smoothly rising clarinet glissando solo opening Gershwin???s Rhapsody in Blue was also investigated. Partially uncovering an open finger-hole smoothly raises clarinet resonances in the lower register, allowing continuous increases in playing pitch. When pitch bending in the second (clarino) register, experienced players produced strong tract resonances with impedances up to 60 MPa.s.m-3, comparable in magnitude with those of the clarinet bore (40-50 MPa.s.m-3). Thus during the glissando, sounding pitch is controlled by smoothly varying a strong resonance in the player???s vocal tract. The phase of the reed impedance is shown to make downwards pitch bending easier than upwards. Similar vocal tract adjustments were observed on the clarinet and saxophone for other advanced techniques such as bugling and multiphonic selection. During normal playing, although experienced players produced vocal tract impedance peaks with only moderate magnitude, these peaks were adjusted systematically to frequencies about 150 Hz higher than the sounding pitch (determined by strong bore resonances). This strategy may avoid the effects of small unwanted tract-bore interactions on sounding pitch.

Master of Music (Music Education) / This thesis documents an investigation of the selection procedures relating to Australian vocal repertoire for mid-adolescent and Higher School Certificate (New South Wales) performers, as used by private singing teachers, school music teachers and singing students. It explores the similarities and differences in the criteria employed in these selections. Semi-structured interviews were the source of data and were conducted with participants from these three categories as well as two composers. The participants evinced highly disparate views. The private singing teachers believed that repertoire should be dictated by the technical ability and physiological constraints of mid-adolescent students and that their role in selecting repertoire was related to the long term vocal growth of each individual. They felt that the school music teachers vetted their repertoire choices with no useful explanation of their reasoning, while the school music teachers noted that students frequently presented repertoire that was too difficult or that was not readily communicated with the audience. The ability of mid-adolescent singers to communicate with and engage an audience was the prime concern of the school music teachers. The students wanted to impress their examiners and believed that infrequently heard repertoire was the best choice, though this was not endorsed by the teachers. There was a perception that the students would perform at their best when they chose repertoire to which they could relate emotionally. Many private singing teachers and school music teachers are not aware of the very broad range of contemporary Australian music and its divergent characteristics. However, there is a shortage of appropriate Australian repertoire that addresses the physiological and emotional needs of mid-adolescent singers.

Doctor of Philosophy(PhD) / Communication is a fundamental process that allows animals to effectively transfer information between groups or individuals. Recognition plays an essential role in permitting animals to distinguish individuals based upon both communicatory and non-communicatory signals allowing animals to direct suitable behaviours towards them. Several modes of recognition exist and in colonial breeding animals which congregate in large numbers, acoustic signalling is thought to be the most effective as it suffers less from environmental degradation. Otariid seals (fur seals and sea lions) are generally colonial breeding species which congregate at high densities on offshore islands. In contrast to the other Arctocephaline species, the Australian fur seal, Arctocephalus pusillus doriferus, along with its conspecific, the Cape fur seal, A. p. pusillus, display many of the behavioural traits of sea lions. This may have important consequences in terms of its social structure and evolution. The acoustic communication of Australian fur seals was studied on Kanowna Island, Bass Strait, Australia. Analysing the acoustic structure of vocalisations and their use facilitates our understanding of the social function of calls in animal communication. The vocal repertoires of males, females, pups and yearlings were characterised and their behavioural context examined. Call structural variations in males were evident with changes in behavioural context, indicating parallel changes in the emotive state of sender. For a call to be used in vocal recognition it must display stereotypy within callers and variation between them. In Australian fur seal females and pups, individuals were found to have unique calls. Mutual mother-pup recognition has been suggested for otariids and this study supports the potential for this process to occur through the use of vocalisations. Call structural changes in pup vocalisations were also investigated over the progression of the year, from birth to weaning. Vocalisations produced by pups increased in duration, lowered in both the number of parts per call and the harmonic band containing the maximum frequency as they became older, suggesting calls are changing constantly as pups grow toward maturity. It has been suggested through descriptive reports, that the bark call produced by males is important to vocal recognition. The present study quantified this through the analysis of vocalisations produced by male Australian fur seals. Results support descriptive evidence suggesting that male barks can be used to discriminate callers. Traditional playback studies further confirmed that territorial male Australian fur seals respond significantly more to the calls of strangers than to those of neighbours, supporting male vocal recognition. This study modified call features of the bark to determine the importance to vocal recognition. The results indicate that the whole frequency spectrum was important to recognition. There was also an increase in response from males when they heard more bark units, indicating the importance of repetition by a caller. Recognition occurred when males heard between 25-75% of each bark unit, indicating that the whole duration of each bark unit is not necessary for recognition to occur. This may have particular advantages for communication in acoustically complex breeding environments, where parts of calls may be degraded by the environment. The present study examined the life history characteristics of otariids to determine the factors likely to influence and shape its vocal behaviour. Preliminary results indicate that female density, body size and the breeding environment all influence the vocal behaviour of otariids, while duration of lactation and the degree of polygyny do not appear to be influential. Understanding these interactions may help elucidate how vocal recognition and communication have evolved in different pinniped species.

Dissertation (Ph.D)-- Florida State University, 2006. / Advisor: Jeffrery Kite-Powell, Florida State University, College of Music. Includes biographical sketch. Includes bibliographical references (p. 221-245).