Nerve controls for singing, chirping and croaking use the same ancient network.
Web edition
:
Thursday, July 17th, 2008

Text Size

NERVY FISHStudies of how the nervous system develops in larval midshipman fish (here 8 to 10 millimeters long) have revealed nerve circuitry similar to that controlling the vocal muscles in frogs, birds and mammals.
Margaret A. Marchaterre, Cornell
No matter how off-key you might be, you’re still singing
like a nightingale. Or a fish.
Studies of the nervous systems of larval toadfish have
revealed brain circuitry similar to that controlling the vocal muscles in frogs,
birds and mammals, says Andrew H. Bass of Cornell University.
Vertebrates croak, sing, ribbit and roar using very
different muscles. But Bass and his colleagues propose that a basic network of
the nerves setting the rhythms and orchestrating those muscles originates in
the same area of the brain and spinal column.
With appearances in such a broad sweep of vertebrates, that
neural design probably arose in some long-ago ancestor of all these creatures,
he and his colleagues report in the July 18 Science.
The fish they studied belong to a lineage that diverged from other vertebrates
some 400 million years ago. “The neural basis for vocal communication is very
ancient,” Bass says.
Bass and his colleagues have been studying the neuroscience
of fish vocalizations for decades. “Most people don’t think about fish making
sounds,” he says. Many fish do, though, and in the same contexts of love and
war in which other vertebrates sing out.

NOW LISTENAdult males of the Gulf toadfish (head-on view) can make a lot of noise by vibrating their swim bladder.
Margaret A. Marchaterre, Cornell
Toadfish make great study subjects for vocalization in part
because they’re so loud. “Sometimes just standing near a tank, you can hear
them,” Bass says. During courtship, males hum, a noise that to human ears has
the basic sound and all the romance of a smoothly running refrigerator.
In touchier situations, such as territorial disputes, males
growl. Think lawn mower a block or two away. And toadfish grunts sound like — grunts.
Toadfish larvae, translucent orange with ducklike shapes,
prove relatively easy to trace neural development in. The nerves that form
eventually control just one pair of muscles that make their swim bladders
vibrate to make sound. “You can’t get any simpler than that,” Bass says.
Analyzing the larvae helps clarify evolutionary
relationships, he says. By adulthood, animal neurons have moved around from
their embryonic positions.
"This is a beautiful example of sorting out what
happened through evolution by looking at the developing brain,” says
neuroethologist Fabiana Kubke of the University
of Auckland in New Zealand.In the toadfish larvae, Bass and his colleagues found that
the vocal neural circuitry originates in a region encompassing parts of both
the hindbrain and the spinal column. That’s the same basic region that gives
rise to vocal circuitry in other vertebrates, the researchers conclude.
To the trained eye of a neuroscientist, similarity of the
basic neural circuitries is "quite striking," Kubke says. "They
have beautiful data, absolutely beautiful."
She studies a neural circuit that controls songbird singing
muscles, which are quite different from the swim bladders that toadfish vibrate
to communicate. Yet she says that to neuroscientists who think about brain
evolution, the new paper's proposal of a shared ancient pathway for vocal
communication makes perfect sense.
"The word I would use is delightful," she says.
Looking at the hypothesis from the frog side, "there's
no evidence against it, and some evidence that supports it," says
neuroethologist Erik Zornik at Boston
University. Studies of two
frog species show that the area proposed as the ancient mother of all croaks is
necessary, but not sufficient, for adults to call. Whether the other neural
circuits frogs use arose later as add-ons to some ancestral network will be
clearer after more studies of how tadpoles develop and what nerves generate
rhythms for sound.
Found in: Biology, Life and Zoology
(Nov 11, 2005 DH,biologicalEvolution forum)
Music is a human cultural-artifactual elaboration of creatures' vocal communication which is an extension-elaboration of >24 wks-old in-womb fetus' and of newborns' intimate safe/coddle/sooth experiences. Both 'touch' and 'hear' senses are founded on mechanical sensing processes involving in-cell ions leakage forming electrical action potentials interpreted neurologically.
I suggest/conjecture that the same neurological constellation may be handling both 'touch' and 'hear' senses, being of commom mechanisms and differing essentially only in switch-on modes, and that this evolves in all vocal creatures in conjunction with in-womb safety, followed with baby codling/handling and vocal soothing/communicating, and later also with intimate emotional implications. Hence music has 'engulfing-touching-emotional' connotation and personal music orientation has also childhood-ethnic rootings.
Dov Henis
http://blog.360.yahoo.com/blog-P81pQcU1dLBbHgtjQjxG_Q--?cq=1
Unfortunately, I didn't write down the name of the song or the singer, but it raises some interesting questions -- is there perhaps some commonality between the neural structures that songbirds employ and those that generate musicality in humans? What exactly was the bird expecting to hear as a response? Someone could make a career out of answering these basic questions. (And I do apologize for neglecting to note the identity of the singer the bird responded to.)
Please login or register to participate.