The basic thesis of the work is that environmental problems are only to be solved by people - people who will be required to make value judgements in conflicts that go beyond narrowly conceived human concerns. Thus people require not only an ethical system, but a way of conceiving the world and themselves such that the intrinsic value of life and nature is obvious, a system based on 'deep ecological principles'. The book encourages readers to identify their own series of such parameters - their own ecosophies. Ecology, Comunity and Lifestyle will appeal to philosophers, specialists working on environmental issues, and the more general reader who is interested in learning some of the foundational ideas of the rapidly expanding field of environmental philosophy.

Songbirds spend much of their time learning, producing, and listening to complex vocal sequences we call songs. Songs are learned via cultural transmission, and singing, usually by males, has a strong impact on the behavioral state of the listeners, often promoting affiliation, pair bonding, or aggression. What is it in the acoustic structure of birdsong that makes it such a potent stimulus? We suggest that birdsong potency might be driven by principles similar to those that make music so effective in inducing emotional responses in humans: a combination of rhythms and pitches —and the transitions between acoustic states—affecting emotions through creating expectations, anticipations, tension, tension release, or surprise. Here we propose a framework for investigating how birdsong, like human music, employs the above “musical” features to affect the emotions of avian listeners. First we analyze songs of thrush nightingales (Luscinia luscinia) by examining their trajectories in terms of transitions in rhythm and pitch. These transitions show gradual escalations and graceful modifications, which are comparable to some aspects of human musicality. We then explore the feasibility of stripping such putative musical features from the songs and testing how this might affect patterns of auditory responses, focusing on fMRI data in songbirds that demonstrate the feasibility of such approaches. Finally, we explore ideas for investigating whether musical features of birdsong activate avian brains and affect avian behavior in manners comparable to music’s effects on humans. In conclusion, we suggest that birdsong research would benefit from current advances in music theory by attempting to identify structures that are designed to elicit listeners’ emotions and then testing for such effects experimentally. Birdsong research that takes into account the striking complexity of song structure in light of its more immediate function – to affect behavioral state in listeners – could provide a useful animal model for studying basic principles of music neuroscience in a system that is very accessible for investigation, and where developmental auditory and social experience can be tightly controlled.

Music maintains a characteristic balance between repetition and novelty. Here, we report a similar balance in singing performances of free-living Australian pied butcherbirds. Their songs include many phrase types. The more phrase types in a bird's repertoire, the more diverse the singing performance can be. However, without sufficient temporal organization, avian listeners may find diverse singing performances difficult to perceive and memorize. We tested for a correlation between the complexity of song repertoire and the temporal regularity of singing performance. We found that different phrase types often share motifs (notes or stereotyped groups of notes). These shared motifs reappeared in strikingly regular temporal intervals across different phrase types, over hundreds of phrases produced without interruption by each bird. We developed a statistical estimate to quantify the degree to which phrase transition structure is optimized for maximizing the regularity of shared motifs. We found that transition probabilities between phrase types tend to maximize regularity in the repetition of shared motifs, but only in birds of high repertoire complexity. Conversely, in birds of low repertoire complexity, shared motifs were produced with less regularity. The strong correlation between repertoire complexity and motif regularity suggests that birds possess a mechanism that regulates the temporal placement of shared motifs in a manner that takes repertoire complexity into account. We discuss alternative musical, mechanistic and ecological explanations to this effect.

Abstract. The initial five papers of this series on pattern perception treat first, the perception of pitch in musical contexts and then, the perception of timbre and speech. Each sound is considered to be embedded in a "context" consisting of those sounds which surround it or coincide with it. The apprehension of a musical pattern depends upon the perceptibility of certain relations between, and properties of, its parts (e.g. "motif A is similar to motif B" or "G is the tonic"). It is hypothesized that, because of the limitations of short term memory, the perception of specific relations and properties requires that certain "mental reference frames" be extracted from the various contexts. However, a reference frame which supports the perception of any specified relation may be extracted from only very few of all possible contexts. The choices of musical materials in both Western and non-Western music are shown to avoid precisely such difficulties. When they are not avoided, distortions of perception are predicted and methods for experimental verification are suggested. This theory is then applied to suggest new materials for the composition of both "microtonal" and "tonecolor" music. This is done in a manner which exposes the correspondence between each choice of musical materials and those musical properties and relations whose perception is (or is not) thereby supported.This first paper discusses the relation between the ability to perceive relative sizes of musical intervals and the choice of reference frame from a given musical context.

The author played clarinet in accompaniment with a singing male humpback whale off the coast of Maui. A sound spectrogram suggests that the whale may have altered his song in response to the clarinet. This observation is consistent with the fact that humpback whales rapidly change their song during breeding season from week to week. A male humpback whale may be able to quickly match new pitched, musical sounds it has never heard before—a result different from those of most humpback whale playback experiments. This experiment suggests that interspecies music-making might be a valuable tool in helping understand the complex communication strategies of humpback whales, as well as in extending our own music making beyond the human realm.