Art Music for the acoustic piano has changed tremendously during the twentieth century. Some of the techniques and skills pianists need to master in order to be able to perform successfully twentieth-century art piano music include: a refined ability to discriminate varied layers of sonorities

The acoustic repertoire of the bell miner, Manorina melanophrys Terms and Conditions: Terms and Conditions: Copyright in works deposited in Minerva Access is retained by the copyright owner. The work may not be altered without permission from the copyright owner. Readers may only download, print

evidence for an unusual large vocal repertoire m.c.p. amorim1, j.m. sim ~oes1 and p.j. fonseca2

Passive acoustic recordings offer the unique opportunity of year-round observation of marine mammals in the Antarctic Ocean by utilizing their vocalisations. Long-term recordings allow studying the acoustic repertoire of whales and seals continuously in an environment almost undisturbed by humans

and chicks utter “distress calls”; in chicks, these are the only sounds recorded. Other Megapodius species seem to have a similar sound-repertoire as the Polynesian megapode.

The African Penguin (Spheniscus demersus) is a highly social and vocal seabird. However, currently available descriptions of the vocal repertoire of African Penguin are mostly limited to basic descriptions of calls. Here we provide, for the first time, a detailed description of the vocal behaviour

to their acoustic structure, and described their main behavioural context. Additionally, we present the first description of vocalizations uttered in babbling bouts of new born giant otters. We expected to find 1) a sophisticated vocal repertoire that would reflect the species ’ complex social organisation, 2

strictly discrete. The division of the vocal repertoire of piglets into two call types has previously been used in many experimental studies into pig acoustic communication and the five call types correspond well to previously published partial repertoires in specific situations. Clear links exist between

forms are currently classified as the same biological species, O. orca. The three forms vary in morphology, ecology, behavior, group size, social organization, acoustic repertoire, and genetic characteristics. Behavioral evidence suggests that Offshore and Transient pods (‘‘pods’ ’ are close

of the xylophone are not conducive to mimicking these cues, it seems to follow that composers would avoid attempts to write “sad ” music for it. We investigated this idea by comparing the repertoire of the xylophone with that of the marimba – a similar instrument whose acoustic structure permits a greater variety