Christina E. Perazio

Transcription

1 Christina E. Perazio Maria Zapetis, Dana Roberson, Natalia Botero, María Camila Medina, and Stan A. Kuczaj II Watkins Memorial Marine Mammal Bioacoustics Symposium, New Bedford Whaling Museum March 28 th, 2015

2 Breeding grounds serve as windows to help researchers understand social dynamics and conspecific communication Among the mating strategies utilized by Humpback whales is song Breeding grounds o Bermuda (Payne & Payne, 1985); Western and Eastern South Atlantic Ocean (Darling & Sousa-Lima, 2005), Eastern Australia (Noad et al., 2000); Tongan Islands (Eriksen et al., 2005); Hawaii (Payne et al., 1983); North Pacific (Cerchio et al., 2001); Southeastern Pacific (Oviedo et al., 2008); Feeding grounds o Western Antarctic peninsula (Stimpert et al., 2012); Balleny Islands, north of Antarctica (Garland et al., 2013); Western Georges Bank (Gulf of Maine) (Clark & Clapham, 2004) Migration routes o Eastern North Pacific (Norris et al., 1999)

3 Units=short, uninterrupted sounds (Payne & McVay, 1971) Multiple units are grouped together into a phrase (Payne & McVay, 1971) Continuous repetitions of phrases are termed themes (Payne & McVay, 1971) A song is made up of multiple themes (Payne & McVay, 1971; Payne et al., 1983) o Songs range in length from 8 to 35 minutes (Payne & Payne, 1985) Sequences of songs are termed song sessions, and can endure for several hours (Payne & McVay, 1971)

4 Migrate north from feeding grounds near Antarctica to breeding grounds along the west coast of South America (Stevick et al., 2004) G-stock breeding group summers in Tribugá s Gulf, Colombian Pacific (International Whaling Commission, 1998) To date, there has been no published research describing Humpback whale vocalizations in Colombian waters o It is crucial to study stocks in all breeding areas to understand song structure, function, and transmission

5 To document song on the Colombian breeding grounds o Describe themes and phrases o Track changes within individual songs and throughout the season To compare Colombian song with song on other breeding grounds To increase the awareness of tourists, whale watching operators, fishermen, and local communities regarding the conservation of Colombia s Humpback whales, as a part of efforts by Macuáticos

6 Tribugá s Gulf Coquí

7 June 7 th September 13 th 2013 o 3 trips/week alternating to the north and south of the town of Coquí o Eight-meter fiberglass boat with 40 horsepower outboard motor When singers were detected visually or audibly, a single SQ26-08 hydrophone was deployed, with 10m cable attached to a Zoom H1 digital recorder (Cetacean Research Technology) Recordings began only when song was clear and one dominant whale was audible Photo: Christina Perazio, Coquí, Colombia Photo: Andrés Cañas, Coquí, Colombia Photos: Natalia Botero, Coquí, Colombia

8 Overall Theme Analysis Total # of recordings analysed 6 Total duration of song analysed Approx. 4 hours, 30 minutes Total number of different themes 3 Number of songs per recording (Range) 0-7 Approx. total duration of Theme 1 Approx. 3 hours, 4 minutes Approx. total duration of Theme 2 Approx minutes Approx. total duration of Theme 3 Approx minutes Individual Theme Analysis Total # of Complete Songs Date Theme Order Recorded (Individual Whale) Approx. Duration of Theme 1 Approx. Duration of Theme 2 Approx. Duration of Theme 3 August 2, minutes 5.5 minutes 5 minutes August 9, hour 3 minutes 28 minutes 13.5 minutes August 12, minutes 3 minutes 5 minutes September 9, theme only 12 minutes 0 minutes 0 minutes September 9, minutes 7 minutes 3.5 minutes September 13, minutes 11 minutes 10.5 minutes

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10 No pattern to shifting AA sub pharse Consistant use of AA in both August and September recordings Use of AAA, AA, and A in other recordings in both August and September AB sub phrase repeated most often between 5 and 7 times, but as many as 17 times No patterns to differing repetitions of AB subphrase

11 Variation within a song o : Second time Theme 2 is heard, phrase structure is the same but unit Bl is sometimes replaced by unit H, and unit F is slightly audibly different o Bl unit sometimes has elements of B unit H H H H Bl F F F F F Variation between recordings August Recordings o 3 Bl units heard before Theme 3 in all August recordings o Double/triple F and Bl units repeated throughout theme in September recordings Bl Bl Bl Bl Bl F F SS

12 Considerable between song variation o Mid-August and September: short harmonic SS unit followed by an S unit repeated before Theme 1 o One early August recording contains only a few phrase repetitions each time Theme 3 is heard Little within song variation o Phrase SS long/ and SS short/ repeated twice and followed by a 10 second pause with X unit audible, and then repeated again long, short, short, long, short, short, S S S short, X long, short, short, long, short,

13 Gabon and Brazil (Western and Eastern South Atlantic Ocean) (Darling & Sousa-Lima, 2005) o Theme 5 ABABABCC similar in structure to ABABABAA from Theme 1 Tonga (Jenkins et al., 1995) o Subphrase 4 from Eastern Australia similar harmonic structure to unit SS downsweep from Theme 3 Darling & Sousa-Lima, 2005 A A A A A A A A A B B B B B Tribugá s Gulf, 2013 Theme 1 Tribugá s Gulf, 2013 Unit SS (long, short) Theme 3 Jenkins et al., 1995

14 Hawaii (Au et al., 2006) o Unit E 2 similar to SS long, unit from Theme 3 o Unit H similar to unit A from Theme 1 Au et al., 2006 Tribugá s Gulf, 2013 Unit SS Theme 3 Au et al., 2006 Tribugá s Gulf, 2013 Unit A Theme 1

15 Fishing, whale watching, and other types of tourism a major part of livelihood Safe practices for both people AND animals Song is a tool to educate the communities about the importance of conservation, and to advocate for stricter guidelines for safe practices Long-term results will also contribute to our understanding of the function of song Photos: Christina Perazio, Macuáticos Colombia Photo: Andrés Cañas, Coquí, Colombia

16 Data Collection: Natalia Botero, Andrés Cañas, María Camila Medina, Nadya Ramírez, Maria Zapetis, Andrea Caicedo González, Alejandra Neira Photo: Christina Perazio, Chocó, Colombia Photo: Angelo, Coquí, Colombia Photo: Christina Perazio, Coquí, Colombia Communities of Coquí, Joví, Termales, and Nuquí Dr. Jim Darling

17 1. Au, W. W. L., Pack, A. A., Lammers, M. O., Herman, L. M., Deakos, M. H., Andrews, K. (2006). Acoustic properties of humpback whale songs. J. Acoust. Soc. Am., 120(2), Cerchio, S., Jacobsen, J. K., & Norris, T. F. (2001). Temporal and geographical variation in songs of humpback whales, Megaptera novaeangliae: synchronous change in Hawaiian and Mexican breeding assemblages. Animal Behaviour, 62, Clark, C. W. & Clapham, P. J. (2004). MegapteraAcoustic monitoring on a humpback whale (continual singing into late spring. Proc. R. Soc. Lond. B, 271, Darling, J. D., & Sousa-Lima, R. S. (2005). Songs indicate interaction between humpback whale (Megaptera novaeangliae) populations in the western and eastern South Atlantic Ocean. Marine Mammal Science, 21(3), Eriksen, N., Miller, L. A., Tougaard, J., & Helweg, D. A. (2005). Cultural change in the songs of Humpback whales (Megaptera novaeangliae) from Tonga. Behaviour, 142, Garland, E. C., Gedamke, J., Rekdahl, M. L., Noad, M. J., Garrigue, C., & Gales, N. (2013). Humpback Whale Song on the Southern Ocean Feeding Grounds: Implications for Cultural Transmission. PLOS ONE, 8(11), e International Whaling Commission. (1998). Report of the Scientific Committee. Annex G. Report of the sub-committee on Comprehensive Assessment of Southern Hemisphere humpback whales. Rep. int. Whal. Commn 48, Jenkins, P. F., Helweg, D. A., & Cato, D. H. (1995). Humpback whale song in Tonga: initial findings. In R.A. Kastelein, J.A. Thomas, & P.E. Nachtigall (Eds.), Sensory Systems of Aquatic Mammals (pp ). The Netherlands: De Spil Publishers. 9. Noad, M. J., Cato, D. H., Bryden, M. M., Jenner, M. N., & Jenner, K. C. S. (2000). Cultural revolution in whale songs. Nature, 408, Norris, T. F., McDonald, M., & Barlow, J. (1999). Acoustic detections of singing humpback whales (Megaptera novaeangliae) in the eastern North Pacific during their northbound migration. J. Acoust. Soc. Am., 106(1), Oviedo, L., Guzman, H. M., Flórez-González, L., Alzueta, J. C., & Mair, J. M. (2008). The Song of the Southeast Pacific Humpback Whale (Megaptera novaeangliae) off Las Perlas Archipelago, Panama: Preliminary Characterization. Aquatic Mammals, 34(4), Payne, K. & Payne, R. (1985). Large scale changes over 19 years in songs of humpback whales in Bermuda. Zeitschrift für Tierpsychologie, 68(2), Payne, R. S. & McVay, S. (1971). Songs of humpback whales. Science, 173, Payne, K., Tyack, P., & Payne, R. (1983). Progressive changes in the songs of humpback whales (Megaptera novaeangliae): A detailed analysis of two seasons in Hawaii. In R. Payne (Ed.), Communication and behavior of whales (pp. 9 57). Colorado: Westview Press. 15. Stevick, P. T., Aguayo, A., Allen, J., Avila, I. C., Capella, J., Castro, C., Chater, K., Rosa, L. D., Engel, M. H., Felix, F., Florez-Gonzalez, L., Freitas, A., Haase, B., Lodi, L., Munoz, E., Olavarria, C., Secchi, E., Scheidat, M., & Siciliano, S. (2004). Migrations of individually identified humpback whales between the Antarctic Peninsula and South America. Journal of Cetacean Resource Management, 6(2), Stimpert, A. K., Peavey, L. E., Friedlaender, A. S., & Nowacek, D. P. (2012). Humpback Whale Song and Foraging Behavior on an Antarctic Feeding Ground. PLOS ONE, 7(12), e51214.

18 Recordings were made on 11 days, totaling 18 recording sessions between 7/23 and 9/16 11 recordings identified as analyzable, totaling 4:45:40 of song