Emotion resonance and divergence: a semiotic analysis of music and sound in 'The Lost Thing', an animated short film and 'Elizabeth' a film trailer

Music and sound contributions of interpersonal meaning to film narratives may be different from or similar to meanings made by language and image, and dynamic interactions between several modalities may generate new story messages. Such interpretive potentials of music and voice sound in motion pictures are rarely considered in social semiotic investigations of intermodality. This paper therefore shares two semiotic studies of distinct and combined music, English speech and image systems in an animated short film and a promotional filmtrailer. The paper considers the impact of music and voice sound on interpretations of film narrative meanings. A music system relevant to the analysis of filmic emotion is proposed. Examples show how music and intonation contribute meaning to lexical, visual and gestural elements of the cinematic spaces. Also described are relations of divergence and resonance between emotion types in various couplings of music, intonation, words and images across story phases. The research is relevant to educational knowledge about sound, and semiotic studies of multimodality

Temporal stability and change in the social call repertoire of migrating humpback whales

Quantifying the stability of a species vocal repertoire is fundamental for further investigations into repertoire function and geographic variation. Changes to the repertoire of sounds used in the song displays of male humpback whales have been well studied. In contrast, little is known about the stability of this species' non-song vocal calls. The stability of the social call repertoire of east Australian humpback whales was investigated from 1997, 2003-2004, and 2008. Out of 46 qualitatively defined call types, 19 were classified as "song-unit calls" that tended to change with the song, and 15 were "inconsistent" and only found in one or two years. Twelve call types were "stable" and present in all years and were commonly produced (64.2% of calls). Stable calls tended to vary in some of the measured call parameters but there was no clear trend between years. This result could indicate that minor changes to calls are not permanent, but reflect individual differences in call production or the graded nature of calls within different social environments. This research has clearly identified stable calls in the call repertoire of humpback whales and while their function is not well understood, their stability suggests an important role in social interactions

Evidence of a Lombard response in migrating humpback whales (Megaptera novaeangliae)

The Lombard reflex is an increase in the subject's vocal levels in response to increased noise levels. This functions to maintain an adequate signal-to-noise ratio at the position of the receiver when noise levels vary. While it has been demonstrated in a small number of mammals and birds including some whales, it has not yet been shown to occur in one of the most vocal species of baleen whale, the humpback whale (Megaptera novaeangliae). Humpback whales were simultaneously visually and acoustically tracked (using an array of calibrated hydrophone buoys) as they migrated southward. Source levels of social vocalizations were estimated from measured received levels and a site-specific empirical sound propagation model developed. In total, 226 social vocalizations from 16 passing groups of whales were selected for final analysis. Noise levels were predominantly wind-dependent (from sea surface motion) and ranged from 81 to 108 dB re 1 mu Pa in the 36Hz-2.8 kHz band. Vocalization source levels increased by 0.9 dB for every 1 dB increase in wind-dependent background noise levels, with source levels (at 1 m) being maintained similar to 60 dB above the noise level. (C) 2014 Acoustical Society of America

Population structure of humpback whales in the western and central South Pacific Ocean as determined by vocal exchange among populations

The study was supported by major grants from the Sea World Research and Rescue Foundation Inc., the Australian Department of the Environment, Water, Heritage and the Arts, and the Winifred Violet Scott Estate to M.J.N. and E.C.G. and from the International Fund for Animal Welfare (IFAW) to the South Pacific Whale Research Consortium (SPWRC).For cetaceans, population structure is traditionally determined by molecular genetics or photographically identified individuals. Acoustic data, however, has provided information on movement and population structure with less effort and cost than traditional methods in an array of taxa. Male humpback whales (Megaptera novaeangliae) produce a continually evolving vocal sexual display, or song, that is similar among all males in a population. The rapid cultural transmission (the transfer of information or behavior between conspecifics through social learning) of different versions of this display between distinct but interconnected populations in the western and central South Pacific region presents a unique way to investigate population structure based on the movement dynamics of a song (acoustic) display. Using 11 years of data, we investigated an acoustically based population structure for the region by comparing stereotyped song sequences among populations and years. We used the Levenshtein distance technique to group previously defined populations into (vocally based) clusters based on the overall similarity of their song display in space and time. We identified the following distinct vocal clusters: western cluster, 1 population off eastern Australia; central cluster, populations around New Caledonia, Tonga, and American Samoa; and eastern region, either a single cluster or 2 clusters, one around the Cook Islands and the other off French Polynesia. These results are consistent with the hypothesis that each breeding aggregation represents a distinct population (each occupied a single, terminal node) in a metapopulation, similar to the current understanding of population structure based on genetic and photo-identification studies. However, the central vocal cluster had higher levels of song-sharing among populations than the other clusters, indicating that levels of vocal connectivity varied within the region. Our results demonstrate the utility and value of using culturally transmitted vocal patterns as a way of defining connectivity to infer population structure. We suggest vocal patterns be incorporated by the International Whaling Commission in conjunction with traditional methods in the assessment of structure.PostprintPeer reviewe

Source levels of social sounds in migrating humpback whales (Megaptera novaeangliae)

The source level of an animal sound is important in communication, since it affects the distance over which the sound is audible. Several measurements of source levels of whale sounds have been reported, but the accuracy of many is limited because the distance to the source and the acoustic transmission loss were estimated rather than measured. This paper presents measurements of source levels of social sounds (surface-generated and vocal sounds) of humpback whales from a sample of 998 sounds recorded from 49 migrating humpback whale groups. Sources were localized using a wide baseline five hydrophone array and transmission loss was measured for the site. Social vocalization source levels were found to range from 123 to 183 dB re 1 mu Pa @ 1 m with a median of 158 dB re 1 mu Pa @ 1 m. Source levels of surface-generated social sounds ("breaches" and "slaps") were narrower in range (133 to 171 dB re 1 mu Pa @ 1 m) but slightly higher in level (median of 162 dB re 1 mu Pa @ 1 m) compared to vocalizations. The data suggest that group composition has an effect on group vocalization source levels in that singletons and mother-calf-singing escort groups tend to vocalize at higher levels compared to other group compositions. VC 2013 Acoustical Society of America

Adapting a computational multi agent model for humpback whale song research for use as a tool for algorithmic composition

Humpback whales (Megaptera Novaengliae) present one of the most complex displays of cultural transmission amongst non-humans. During breeding seasons, male humpback whales create long, hierarchical songs, which are shared amongst a population. Every male in the population conforms to the same song in a population. During the breeding season these songs slowly change and the song at the end of the breeding season is significantly different from the song heard at the start of the breeding season. The song of a population can also be replaced, if a new song from a different population is introduced.This is known as song revolution. Our research focuses on building computational multi agent models, which seek to recreate these phenomena observed in the wild.Our research relies on methods inspired by computational multi agent models for the evolution of music. This interdisciplinary approach has allowed us to adapt our model so that it may be used not only as a scientific tool, but also a creative tool for algorithmic composition. This paper discusses the model in detail, and then demonstrates how it may be adapted for use as an algorithmic composition tool