Free TOEFL READING COMPREHENSION Exam Braindumps (page: 7)

In strongly territorial birds such as the indigo bunting, song is the main mechanism for securing g, defining, and defending an adequate breeding are. When population density is high, only the strongest males can retain a suitable are. The weakest males do not breed or are forced to nest on poor or marginal territories.

During the breeding season, the male indigo bunting sings in his territory; each song lasts two or three seconds with a very short pause between songs, Melodic and rhythmic characteristics are produced by rapid changes in sound frequency and some regularity of silent periods between sounds. These modulated sounds form recognizable units, called figures, each of which is reproduced again and again with remarkable consistency.

Despite the large frequency range of these sounds and the rapid frequency changes that the birds makes, the n umber of figures is very limited. Further, although we found some unique figures in different geographical populations, more than 90 percent of all Indigo bunting figures are extremely stable on the geographic basis . In our studies of isolated buntings we found that male indigo buntings are capable of singing many more types of figures than they usually do. Thus, it would seem that they copy their figures from other buntings they hear signing.

Realizing that the ability to distinguish the songs of one species from those of another could be an important factor in the volition of the figures, we tested species recognition of a song. When we played a tape recording of a lazuli bunting or a painted bunting, male indigo bunting did not respond; Even when a dummy of male indigo bunting was placed near the tape recorder. Playing an indigo bunting song, however, usually brought an immediate response, making it clear that a male indigo bunting can readily distinguished songs of its own species from those of other species.

The role of the songs figures in interspecies recognition was then examined. We created experimental songs composed of new figures by playing a normal song backwards, which changed the detailed forms of the figures without altering frequency ranges or gross temporal features. Since the male indigos gave almost a full response to the backward song, we concluded that a wide range of figures shapes can evoke positive responses. It seems likely, therefore, that a specific configuration is not essential for interspecies recognition, but it is clear that song figures must confirm to a particular frequency range, must be within narrow limits of duration, and must be spaced at particular intervals.

There is evident that new figures may arise within a population through a slow process of change and selection. This variety is probably a valuable adaptation for survival: if every bird sang only a few types of figures, in dense woods or underbrush a female might have difficulty recognizing her mate’s song and a male might not be able to distinguish a neighbor from a stranger. Our studies led us to conclude that there must be a balance between song stability and conservatism, which lead to clear-cut species recognition, and song variation, which leads to individual recognition.

It can be inferred that the investigation that determined the similarly among more than 90 percent of all the figures produced by birds living in different regions was undertaken to answer which of the following questions?

I) How much variations, if any, is there in the figure types produced by indigo buntings in different locales?
II) Do local populations of indigo buntings develop their own dialects of figure types?
III) Do figure similarities among indigo buntings decline with increasing geographic separation?

In strongly territorial birds such as the indigo bunting, song is the main mechanism for securing g, defining, and defending an adequate breeding are. When population density is high, only the strongest males can retain a suitable are. The weakest males do not breed or are forced to nest on poor or marginal territories.

During the breeding season, the male indigo bunting sings in his territory; each song lasts two or three seconds with a very short pause between songs, Melodic and rhythmic characteristics are produced by rapid changes in sound frequency and some regularity of silent periods between sounds. These modulated sounds form recognizable units, called figures, each of which is reproduced again and again with remarkable consistency.

Despite the large frequency range of these sounds and the rapid frequency changes that the birds makes, the n umber of figures is very limited. Further, although we found some unique figures in different geographical populations, more than 90 percent of all Indigo bunting figures are extremely stable on the geographic basis. In our studies of isolated buntings we found that male indigo buntings are capable of singing many more types of figures than they usually do. Thus, it would seem that they copy their figures from other buntings they hear signing.

Realizing that the ability to distinguish the songs of one species from those of another could be an important factor in the volition of the figures, we tested species recognition of a song. When we played a tape recording of a lazuli bunting or a painted bunting, male indigo bunting did not respond; Even when a dummy of male indigo bunting was placed near the tape recorder. Playing an indigo bunting song, however, usually brought an immediate response, making it clear that a male indigo bunting can readily distinguished songs of its own species from those of other species.

The role of the songs figures in interspecies recognition was then examined. We created experimental songs composed of new figures by playing a normal song backwards, which changed the detailed forms of the figures without altering frequency ranges or gross temporal features. Since the male indigos gave almost a full response to the backward song, we concluded that a wide range of figures shapes can evoke positive responses. It seems likely, therefore, that a specific configuration is not essential for interspecies recognition, but it is clear that song figures must confirm to a particular frequency range, must be within narrow limits of duration, and must be spaced at particular intervals.

There is evident that new figures may arise within a population through a slow process of change and selection. This variety is probably a valuable adaptation for survival: if every bird sang only a few types of figures, in dense woods or underbrush a female might have difficulty recognizing her mate’s song and a male might not be able to distinguish a neighbor from a stranger. Our studies led us to conclude that there must be a balance between song stability and conservatism, which lead to clear-cut species recognition, and song variation, which leads to individual recognition.

It can be inferred from the passage that the existence of only a limited number of indigo bunting figures servers primarily to

In strongly territorial birds such as the indigo bunting, song is the main mechanism for securing g, defining, and defending an adequate breeding are. When population density is high, only the strongest males can retain a suitable are. The weakest males do not breed or are forced to nest on poor or marginal territories.

During the breeding season, the male indigo bunting sings in his territory; each song lasts two or three seconds with a very short pause between songs, Melodic and rhythmic characteristics are produced by rapid changes in sound frequency and some regularity of silent periods between sounds. These modulated sounds form recognizable units, called figures, each of which is reproduced again and again with remarkable consistency.

Despite the large frequency range of these sounds and the rapid frequency changes that the birds makes, the n umber of figures is very limited. Further, although we found some unique figures in different geographical populations, more than 90 percent of all Indigo bunting figures are extremely stable on the geographic basis. In our studies of isolated buntings we found that male indigo buntings are capable of singing many more types of figures than they usually do. Thus, it would seem that they copy their figures from other buntings they hear signing.

Realizing that the ability to distinguish the songs of one species from those of another could be an important factor in the volition of the figures, we tested species recognition of a song. When we played a tape recording of a lazuli bunting or a painted bunting, male indigo bunting did not respond; Even when a dummy of male indigo bunting was placed near the tape recorder. Playing an indigo bunting song, however, usually brought an immediate response, making it clear that a male indigo bunting can readily distinguished songs of its own species from those of other species.

The role of the songs figures in interspecies recognition was then examined. We created experimental songs composed of new figures by playing a normal song backwards, which changed the detailed forms of the figures without altering frequency ranges or gross temporal features. Since the male indigos gave almost a full response to the backward song, we concluded that a wide range of figures shapes can evoke positive responses. It seems likely, therefore, that a specific configuration is not essential for interspecies recognition, but it is clear that song figures must confirm to a particular frequency range, must be within narrow limits of duration, and must be spaced at particular intervals.

There is evident that new figures may arise within a population through a slow process of change and selection. This variety is probably a valuable adaptation for survival: if every bird sang only a few types of figures, in dense woods or underbrush a female might have difficulty recognizing her mate’s song and a male might not be able to distinguished a neighbor from a stranger. Our studies led us to conclude that there must be a balance between song stability and conservatism, which lead to clear-cut species recognition, and song variation, which leads to individual recognition.

It can be inferred that a dummy of a male indigo bunting was placed near the tape recorder that played the songs of different species in order to try to

In strongly territorial birds such as the indigo bunting, song is the main mechanism for securing g, defining, and defending an adequate breeding are. When population density is high, only the strongest males can retain a suitable are. The weakest males do not breed or are forced to nest on poor or marginal territories.

During the breeding season, the male indigo bunting sings in his territory; each song lasts two or three seconds with a very short pause between songs, Melodic and rhythmic characteristics are produced by rapid changes in sound frequency and some regularity of silent periods between sounds. These modulated sounds form recognizable units, called figures, each of which is reproduced again and again with remarkable consistency.
Despite the large frequency range of these sounds and the rapid frequency changes that the birds makes, the n umber of figures is very limited. Further, although we found some unique figures in different geographical populations, more than 90 percent of all Indigo bunting figures are extremely stable on the geographic basis. In our studies of isolated buntings we found that male indigo buntings are capable of singing many more types of figures than they usually do. Thus, it would seem that they copy their figures from other buntings they hear signing.

Realizing that the ability to distinguish the songs of one species from those of another could be an important factor in the volition of the figures, we tested species recognition of a song. When we played a tape recording of a lazuli bunting or a painted bunting, male indigo bunting did not respond; Even when a dummy of male indigo bunting was placed near the tape recorder. Playing an indigo bunting song, however, usually brought an immediate response, making it clear that a male indigo bunting can readily distinguished songs of its own species from those of other species.

The role of the songs figures in interspecies recognition was then examined. We created experimental songs composed of new figures by playing a normal song backwards, which changed the detailed forms of the figures without altering frequency ranges or gross temporal features. Since the male indigos gave almost a full response to the backward song, we concluded that a wide range of figures shapes can evoke positive responses. It seems likely, therefore, that a specific configuration is not essential for interspecies recognition, but it is clear that song figures must confirm to a particular frequency range, must be within narrow limits of duration, and must be spaced at particular intervals.

There is evident that new figures may arise within a population through a slow process of change and selection. This variety is probably a valuable adaptation for survival: if every bird sang only a few types of figures, in dense woods or underbrush a female might have difficulty recognizing her mate’s song and a male might not be able to distinguished a neighbor from a stranger. Our studies led us to conclude that there must be a balance between song stability and conservatism, which lead to clear-cut species recognition, and song variation, which leads to individual recognition.

According to the passage, the authors played a normal indigo bunting song backwards in order to determine which of the following?