Жануарлар музыкасының ғылымы

Field of musicology and zoology that studies the music of animals

Zoomusicology (,/z//əʊ//ə//m//j//uː//z//ɪ/'/k//ɒ//l//ə//dʒ//i/) is the study of the musical aspects of sound and communication as produced and perceived by animals. It is a field of musicology and zoology, and is a type of zoosemiotics. Zoomusicology as a field dates to François Bernard Mâche's 1983 book Music, Myth, and Nature, or the Dolphins of Arion (published in English in 1992), and has been developed more recently by scholars such as Dario Martinelli, David Rothenberg, Hollis Taylor, David Teie, and Emily Doolittle. Zoomusicology is a separate field from ethnomusicology, the study of human music. Zoomusicologists in a wide range of fields including music, semiotics, philosophy and biology conduct zoomusicology research. This is due to the fact that the field of zoomusicology is so broad and reaches many disciplines. Musician and zoomusicologist Hollis Taylor has conducted an extensive study of the Pied Butcherbird (Cracticus nigrogularis) over the past 15 years, including interdisciplinary research with philosophers and scientists. Clarinetist, and philosopher David Rothenberg plays music with animals, and has written books on the relationship between bird, insect, and whale song and human music. and the musician wren. Heavy metal bands such as Hatebeak, Caninus, Naegleria Fowleri, and Boar Glue have released music fronted by a grey parrot, a pit bull, an Amazon parrot, and a guinea pig, respectively. Susan Belanger has also contributed to the field of zoomusicology, with her work on soft song in the Asian corn borer moth (Ostrinia furnacalis) and its relationship to the initiation of mating behaviour. This list is by no means all encompassing, but simply lists some notable members of the zoomusicology research community.

There have been several musicians over the years who have performed with or for animals, hoping to elicit responses. Examples include: the song "Seamus" from Pink Floyd's 1971 album Meddle featuring Steve Marriott's Border Collie Seamus howling along to an acoustic blues song. The performance was repeated in "Mademoiselle Nobs" for the film Pink Floyd: Live at Pompeii (1972) with a different dog, Nobs. Paul Horn played flute to Haida, an orca living at Sealand of the Pacific in Victoria, British Columbia on his album Inside II (1972), though the response was merely spyhopping. Paul Winter played his saxophone for both wolves (who howled) and gray whales (who did not) on his album Common Ground (1978). Composer Jim Nollman plays guitar and wooden flute to such species as whales, wolves and turkeys. David Rothenberg, a clarinetist, has played to humpback whales, cicadas and birds (2005 2013) with no apparent response. Composer David Sulzer, under the name David Soldier and the Thai Elephant Orchestra, built giant percussion instruments for the elephants at the National Elephant Institute at Lampang to play, with minimal human direction. Composers have long evoked or imitated animal sounds in compositions, including Antonio Vivaldi's The Four Seasons (Vivaldi) (1720), Jean Philippe Rameau's The Hen (1728), Camille Saint Saëns's The Carnival of the Animals (1886), Jean Sibelius's The Swan of Tuonela (1895), Frederick Delius's On Hearing the First Cuckoo in Spring (1912), Ralph Vaughan Williams's The Lark Ascending (Vaughan Williams) (1914), Ottorino Respighi's Pines of Rome (1924) and The Birds (1928), Ferde Grofé's Grand Canyon Suite (1931), Olivier Messiaen's Catalogue of the Birds (1956–58), George Crumb's Vox Balaenae (Voice of the Whale) (1971), and Pauline Oliveros's El Relicario de los Animales (1977). Some modern composers have included recordings of animals in their scores, including Alan Hovhaness's And God Created Great Whales (1970), Einojuhani Rautavaara's Cantus Arcticus (1972), Gabriel Pareyon's Invention over the song of the Vireo atriccapillus (1999) and Kha Pijpichtli Kuikatl (2003). In 1960 American engineer Jim Fassett put together an album of slowed down and re arranged bird songs called Symphony of the Birds. Novelty songs pieced together from the sounds of dogs (The Singing Dogs) or cats (Jingle Cats) enjoyed brief popularity in the 1950s and 1960s. Field recording expert Bernie Krause in 1988 released a single ("Jungle Shoes"/"Fish Wrap") and an album (Gorillas in the Mix) of songs composed of animal and nature sounds. The Indian zoomusicologist, A. J. Mithra composed music using bird, animal and frog sounds from 2008 until his death in 2014. In that same year, New York beatboxing artist Ben Mirin began incorporating animal sounds into his beats.

The most well known form of music found in non human animals is birdsong. Birdsong is different from normal calls. For example, a call will usually simply function to communicate a direct message. lyrebirds, Lawrence's thrushes, Acrocephalus, marsh warblers, and others. Mozart kept a starling that could mimic some of his music.

Snowden and Teie performed an experiment on Cotton top tamarins (Saguinus oedipus) to determine if music would lead to behavioural changes, and whether music made by other species would elicit similar behavioural responses as the music of one's own species. This experiment involved two separate categories of music one was affiliation based, the other was fear/threat based music. Within the two categories, the experimenter varied whether the music was produced by humans or tamarins. Although the reason behind this behaviour is uncertain, some have hypothesized that the songs produced by male humpback whales may be a part of escorting, or accompanying females. Singing can be a costly behaviour, because it can lead to more attention being drawn. In the humpback whales' situation, their singing can attract other competing males. This music is very low in amplitude and is known as quiet song, whisper communication, or soft song.

In an unpublished study at the University of Leicester, Liam MacKenzie and Adrian North found that playing music for dairy cows had an effect on the amount of milk that they produced. Over a nine week period, dairy cows were exposed to fast (> 120 BPM), slow (< 100 BPM), and no music. Music was played for the cows 12 hours a day from 5 AM to 5 PM.

Decreased stress levels have been observed in kennelled dogs that were exposed to classical music, but rapid habituation was also observed. In a 2017 follow up study, kennelled dogs were exposed to five different genres of music including soft rock, Motown, pop, reggae, and classical in order to determine whether or not increased variety of music could reduce habituation. The study found the heart rate variability, which indicates a decreased stress level, was significantly higher when the dogs were played reggae and soft rock, but the other three genres had a similar but less pronounced effect. In addition, the dogs were much more likely to lie down rather than stand while the music was being played. The study suggested that the increased variety of music decreased habituation that was present when playing exclusively classical music, though the dogs responded best when exposed to reggae and soft rock.