TL;DR: It is concluded that their elaborate song culture seems to overreach biological necessity, indicating an aesthetic appreciation of sound is present in the pied butcherbird.
Abstract: Definitions of music invoking the human cutoff point are reviewed. The pied butcherbird Cracticus nigrogularis is suggested for a zoomusicological case study on how birdsong might be like the human animal`s music (whether homologous or analogous). Portamento as an impediment to off-the-shelf musicology in the case of birdsong analysis is discussed. It is proposed that the employment of different types and levels of description could facilitate the most fecund survey and analysis. An initial survey on how pied butcherbirds use notes, calls, and song is presented, including sonograms and standard music notation, followed by an elucidation of a repertoire of procedures found in both music and pied butcherbird song. It is concluded that their elaborate song culture seems to overreach biological necessity, indicating an aesthetic appreciation of sound is present in the pied butcherbird.
TL;DR: Analysis of mitochondrial DNA sequences from 55 individuals of C. nigrogularis revealed low genetic diversity, poor geographical structure and signatures of a recent demographic expansion, which contrasts with predictions from intraspecific taxonomy and with population structures of several other bird species.
TL;DR: Overall, patterns and timings of speciation were consistent with the hypothesis that both the expansion of open sclerophyllous woodlands 25-30Ma and the formation of extensive grassland-dominated woodlands 6-8Ma allowed the radiation of lineages adapted to open woodland habitats.
TL;DR: A survey of strategies employed by composers who make overt reference to birdsong as a model, with a particular focus on the pied butcherbird, can be found in this paper.
Abstract: This article surveys the range of strategies employed by composers who make overt reference to birdsong as a model, with a particular focus on the pied butcherbird. The species plays a conspicuous role in the appropriation of Australian birdsong by composers, as first proposed by Henry Tate in the early twentieth century. The interrogation of birdsong also has currency in analytical practice, provoking issues such as musical universals and the role of transcription and analysis in composition. In human compositional design, pied butcherbird’s protean vocalisations are well represented as the source in a myriad of arenas. Tate’s vision of composers tapping into Australia’s birdsong resources is materialising.