Undiscovered Owls – web book


The Sound Approach
Undiscovered Owls, Web-book
5th April 2019

Introduction

Like a crescent moon in a bright blue sky, an owl can evade discovery without even trying. Take away the daylight, the scattered clouds, the landscape and the face of a companion, the moon will be no brighter than before, but because there are fewer distractions it will be hard to miss. With an owl, the distraction is noise. Machinery and traffic, talking and barking, turbulent wind and water, it need not be deafening. Just enough to clutter our minds. Clear it away and a distant owl may resonate with the very core of our being. 

Under a full moon we can see forests and rocks, creatures and almost any decent sized objects in our surroundings. Arguably, we are just seeing moonlight reflected off those objects, reaching us along myriad pathways and after all, the moon itself is only reflecting the sun. When a distant owl hoots, its sound ‘illuminates’ the surroundings. We never think of it this way, but countless owl-echoes allow us to ‘hear’ trees, fields and cliffs. We may not perceive each item separately but when blurred together, they form an integral component of an owl’s sound.

On a recent trip to Sweden, Håkan and I spent several nights listening for Tengmalm’s Owls Aegolius funereus. We would stop the car and listen outside for a couple of minutes, until either we heard an owl or the cold forced us back inside. In some areas we would find a new Tengmalm’s every two kilometres or so, usually sounding incredibly distant in snowy, dense coniferous forest. On that far horizon where sound grades into imagination, the hooting sometimes disappeared, then reappeared. Slight changes in the breeze can cause this, but I believe the sound was so faint that it was moving in and out of consciousness. The more repetitive and continuous a sound, the more easily it slips away. Irregular patterns grab our attention more easily, even at the edge of perceptibility. 

In reality, true silence is as rare as a Snowy Owl Bubo scandiacus in a hot, sandy desert. There is always audible habitat or ‘atmos’. Like us, owls filter out what is constant and concentrate on irregular movements. Their filters are infinitely more refined. In our ears a rustle or a scamper, a nibble or a squeak will usually fail to register. For an owl these are exactly the sounds that matter, these and the voices of other owls much further away. 

In trying to identify owls to species, I find that it helps to know which kind of calls I am likely to hear when. The simplest solution is to divide an owl’s year into three main periods. First there is courtship, usually early in the year. From incubation until after the young fledge a new set of sounds gradually emerges. Finally, territorial sounds predominate after the young leave their parents, at least in those owls that are year-round residents. 

At the start of courtship, male and female are usually aggressive towards one another, before they gradually settle into very different roles. The male must demonstrate his ability to catch enough prey or the female will not lay eggs. He does this through courtship feeding, a ritual accompanied by music. The male’s contribution is his ‘song’. In barn owls Tytonidae this is a repetitive, modulated screeching (at least in the Western Palearctic), and in the Strigidae it is hooting. The female responds with simple calls telling the male where she is and reminding him of his obligation to feed her. It would be tempting to name these ‘begging calls’ or even ‘demanding calls’ but males often produce an almost identical sound without asking anything from females except their cooperation. So I prefer to call these ‘soliciting calls’. Several other sounds are characteristic of the courtship period. These include simple, rapidly repeated nest-showing calls and high-pitched copulation calls. 

The sonagram above is derived from CD4-28 (Tawny Owl Strix aluco) and is repeated with different annotations later in the book. Owl sounds make thankful subjects for sonagrams, because they produce simple patterns. The vertical axis of a sonagram represents the pitch, while the horizontal axis represents time. We recommend paying particular attention to the lowest trace, the one nearest to the horizontal axis. This is the fundamental, the component that usually determines how we hear the pitch of the sound. The higher bands, when present, are harmonics and other features that determine the timbre or ‘colour’ of the sound. They tend to disappear with distance, leaving only the fundamental. The rhythm of an owl call can be deduced from the horizontal spacing. On a very basic level, a long, sustained, tonal sound will show as a horizontal line whereas a very short, harsh one will show as a vertical line. Likewise, a long horizontal space corresponds to a long time interval between sounds and vice versa. Within each genus, I have made sonagrams at only one or two different frequency scales to facilitate comparison. The colour coding is as shown here. Where there is significant doubt about the sex, I have used purple, with magenta indicating a second unsexed individual. Where there is only minor doubt, I sex them as I believe correct and add the annotation ‘presumed male’ or ‘presumed female’.

After laying their clutch, most owls become very quiet. We still hear the male’s song and the female’s soliciting calls, but only during the male’s brief visits to the nest. After the young hatch, there is much more to listen to. The female’s staccato ‘feeding calls’ are often the first sign that young have hatched, before their begging calls gradually become the dominant sound around the nest. Meanwhile, the male visits more frequently, and both adults become more nervous about intruders, especially as fledging time approaches. This is when we hear excitement calls and sometimes even weird displays designed to lure us away. We could be lazy and call these ‘alarm calls’, but birds do not call just for the sake of expressing emotions. When threatened they adopt a strategy, which may be to warn their loved ones (‘hide!’), to call for reinforcements (‘help!’), or even to threaten their enemy (‘you’re dead meat!’).

Owls that are year-round residents usually have a secondary peak of calling in autumn. Some simply draw a few calls from the repertoire they use all year round. Others have special autumn sounds, or calls heard rarely at other times. In a few partially migratory or nomadic species, autumn calling is rare but still well worth listening for. There are one or two that we have never heard during this season, although other listeners have.

Our species taxonomy does not follow any existing authority, nor does it pretend to be one. Taxonomy is in constant flux, and in this book we based ourselves upon what was known and published on the 1st of January 2015. Subdividing the natural diversity around us is a basic human need and birthright (Shepard 1978), and we have identified what we believe to be the owl species of the Western Palearctic to the best of our abilities. Our species limits are hypotheses and we do not pretend that they are facts. The approach is integrative, considering multiple strands of evidence to decide whether a particular taxon represents a separate branch on the tree of life. Although sounds are of prime importance when defining nocturnal bird species, we have also considered genetics (monophyly), morphology (distinct appearance), geography (degree of isolation) and ecology (differences in niche) whenever possible.

When lineages diverge, different characters and ‘species properties’ evolve at their own pace, depending on which pressures are operating. In integrative taxonomy the absence of one such property, such as a distinct plumage, does not invalidate species rank if there is other strong evidence supporting it (Sangster 2013). Sometimes, sounds may differ between two populations when the genetic difference between them is tiny. Other times, different conditions in isolation can bring about changes in plumage and body proportions while sounds hardly change at all.

Owls often force us out of our comfort zone. At a basic level, we usually have to endure cold and darkness. In Portugal where I live, cold is not a problem and I am not afraid of the dark, but I still have to be prepared for the unexpected. Other people’s fears pose the most serious threat. Once I drove through an open gate near a road, but with no inhabited houses anywhere in sight. Leaving my car in view of the road, I walked over the top of a hill to investigate a ruin that looked good for Common Barn Owl Tyto alba and proved to be full of pellets. When I went back over the hill I was blinded by searchlights from a police car, and walked as calmly as I could to meet them and explain myself. So far, I have not met a gun in the dark but it could happen at any time.

One of the good things about owling in Portugal is that I am allowed to be responsible for my own safety. Many sites are accessible that would be fenced off in Scotland, where I was born. Even an old mine complex with vertical shafts, pools of colourful, strange-smelling liquids and buildings on the point of collapse is open to anyone curious enough to go there. And curiosity usually gets the better of me.

Contents

Acknowledgements

The Sound Approach is a complex organism that once began as a team of three birders: Arnoud van den Berg, Mark Constantine and myself, Magnus Robb. Three more – Dick Forsman, Killian Mullarney and René Pop – have become key members over the years, and all played an important role in the preparation of this work. When the time came, our design duo – Cecilia Bosman and Mientje Petrus – converted the raw materials into book form. Cecilia also supported Arnoud on many of his recording trips, and Mo did the same for Mark. I wrote the text in the first person, borrowing extensively from the thoughts and experiences of other team members. Any mistakes are, however, my own.

Killian provided the Omani Owl and Turkish Fish Owl for the cover, as well as the Cucumiau and Short-eared Owl used on the CDs. He and Dick both recommended Håkan Delin to be the illustrator for this book. Håkan has been watching and listening to owls with meticulous attention to detail for most of his life, and his collected owl wisdom was an invaluable bonus to this project.

Three sound recordists – Johannes Honold, João Nunes and Peter Nuyten – went out and made additional sound recordings at our request. Several others had very special sounds in their collections, which they allowed us to use: Fabio Cherchi, Roland Eve, Patrick Franke, Hannu ‘Honey’ Jännes, Jelmer Poelstra, Davide De Rosa and Ove Stefansson. Saydisc Records gave us permission to use a recording by Ian Strange, and The Macaulay Library at the Cornell Lab of Ornithology allowed us to use recordings by Richard J Clark, William W H Gunn, David Herr, David Moyer, Leonard J Peyton, Philip Taylor and Gerrit Vyn. We have many friends at the Lab, but would like to thank Greg Budney and Matthew Young in particular for their assistance. 

It would have been impossible to record and photograph owls in so many locations without a great deal of local help. We would like to thank the following people for information about where to search, assistance in the field and/or hospitality: Kari Ahola/KBP, Per Alström, Vasil Ananian, Soner Bekir, Letizia Campioni, Carlos Carrapato, Giusi De Castro, Carlos & Claudia Cruz, Hassan Dalil, Piotr Debowski, Hampus Delin, Hugues Dufourny, Isabel Fagundes, Pedro Fernandes, Inki Forsman, Sandeep Gaonkar, Dimiter Georgiev, Hamida Hammouradia & family, Heikki Henttonen, Juha Honkala, Mike Jennings, Tomasz Jezierczuk, Özcan Kilic, Erkki Korpimäki, Olli Lamminsalo, Alexandre Leitão, Lorenzo Di Lisio, Heikki Lokki, Matilde Londner, Rui Lourenço, Pedro Marques, Mireia Martín, Teresa Massarella, Łukasz Mazurek, Dave McAdams, John McLoughlin aka Johnny Mac, Istvan Moldovan, Colm Moore, Antonio-Roman Munoz, Seppo Niiranen, Paulo Oliveira (Parque Natural da Madeira), Lahcen Ouacha & friends, Carlos Pacheco, Nino Patti, Fabian Pekus, Vincenzo Penteriani, Antti Peuna, Geoff Phillipson, Kari Pihlajamäki, Benjam Pöntinen, Pekka Pouttu, Vladimir Pozdnyakov, Torsten Pröhl, Beneharo Rodríguez, Luis Roma, Pertti Saurola, Georg Schreier, Sebastian Siebold, Roy Slaterus, Yuri Sofronov, Qupeleio & Jennifer De Souza, Matti Suopajärvi, Ibrahim Tuncer, Aarto Tuominen, Andrew Upton, Hannu Velmala, Sten Vikström, Noam Weiss, Dick Woets and Emin Yoğurtcuoğlu. Amanda Taylor of Lush organised the logistics of several of our trips. Paul Morton and Kerry Fletcher took care of me, no matter how pathetic my requests.

Håkan Delin at cliff of Pharaoh Eagle-Owl Bubo ascalaphus, Jebel Lamdouar, Rissani, Tafilalt, Morocco, 11 March 2012 (Arnoud B van den Berg). Same site as in CD3-20 and CD3-24.

My understanding of owl sounds was considerably enriched by those who allowed access to reference recordings. These included Vaughan & Svetlana Ashby, Raffael Ayé, Jan-Erik Bruun, José Luis Copete, Andrea Corso, Pierre-André Crochet, Peter Flint, Karl-Heinz Frommolt (Tierstimmenarchiv.org), Bernard Geling (Birdsounds.nl), Lauri Hallikainen (personal.inet.fi/ yritys/kultasointu), Micha Heiss, John Keane, Sander Lagerveld, Harry Lehto, Antero Lindholm, Ralph Martin, Les McPherson (archivebirdsnz.com), Joseph Medley & the United States Forest Service, Manuel Schweizer, Pratap Singh, Martyn Stewart (naturesound.org), Cheryl Tipp (bl.uk/soundarchive), Deepal Warakagoda and Mike Watson. I also referred extensively to: Avian Vocalizations Center (avocet.zoology.msu.edu), the Internet Bird Collection (ibc.lynxeds.com), the Borror Library of Bioacoustics (blb.biosci.ohio-state.edu) and of course, Xeno-canto (xeno-canto.org). For the maps, we consulted various publications (eg, Hagemeijer & Blair 1992, König et al 2008, Jennings 2010, del Hoyo & Collar 2014 and various field guides). These books showed quite a lot of differences in their maps, reflecting both the dynamics of some species’ distribution and a lack of knowledge; the choices we made for this book are our own, partly based on personal experience. We are also very grateful to the following photographers who contributed their work: Eric Didner, Jo Latham, ‘Dirty’ James Lidster, Bruce Mactavish, Eric Meek, Paulo hiro, Artur Oliveira, Torsten Pröhl, Chris van Rijswijk, Domingo Trujillo and Mike Watson. We also thank Shaun Robson for making a book like this necessary.

Luis Gordinho and Ricardo Tomé gave valuable suggestions after reading sections of the manuscript. Nick Hopper helped to popularise the sonagram annotations. André van Loon, the Cornell Lab of Ornithology and Thor Veen enabled me to obtain access to a wide range of scientific literature, which enriched this book immeasurably. Many others kindly replied to requests for literature or to specific questions. They included David Armitage, Patrick Bergier, Keith Betton, Ruud van Beusekom, Karla Bloem, Leo Boon, Oscar Campbell, Robin Campbell, Geoff Carey, Yüksel Coşkun, Edward Dickinson, Harvey van Diek, Paul Doherty, Marc Duquet, Mark Eising, Javier Elorriaga, Janneke Eppinga, Jens & Hanne Eriksen, Rainer Ertel, Michael Exo, Rob Felix, Yuzo Fujimaki, Paolo Galeotti, Kai Gauger, Barak Granit, Hein van Grouw, Ricard Gutiérrez, Kees Hazevoet, Paul Holt, Wulf Ingham, David Insall, Sureyya Isfendiyaroğlu, Justin Jansen, Alan Kemp, Abolghasem Khaleghizadeh, Roy Kleukers, Peter de Knijff, Claus König, Michael Leven, Ian Lewis, Andreas Lindén, Antero Lindholm, Alex Masterson, Rafael Matias, Matthew Medler, Ugo Mellone, John Mendelsohn, Jonathan Meyrav, Nial Moores, Nick Moran, Babak Musavi, The Natural History Museum at Muscat, The Natural History Museum at Tring, Lajos Nemeth, János Oláh, Gert Ottens, Marco Pavia, Yoav Perlman, Shaun Peters, Matt Pretorius, Marius Puttmann, Ian Riddell, Kees Roselaar, Forrest Rowland, George Sangster, Wolfgang Scherzinger, Yevgeni Shergalin, Raquel Silva, Jonathan Slaght, James Smith, Stephen Smith, David Stanton, Elchin Sultanov, Lars Svensson, Warwick Tarboton, Michel Thévenot, Mohammad Tohidifar, Magnus Ullmann, Raju Vyas, Derek Whiteley, Rombout de Wijs, Frank Willems, Duncan Wilson, Pim Wolf, Yusuke Umegaki and Christoph Zockler. To anybody that I have omitted please understand that it’s my memory, not ingratitude.

For inspiration and infecting him with his fanatical interest in owls, Arnoud would like to thank Karel H Voous. For constant encouragement, we would like to thank Ian Wallace.

Manuela Nunes and our two boys Félix and Finn gave me a huge amount of support and patience as I worked on this book. I dedicate my work to all three, with love and gratitude.

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