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The three key elements in the scientific study of animal communication are the sender, the receiver, and the interaction between the two. Senders produce a signal that is perceived by the receiver and, operationally, communication occurs when the signal leads to an observable change in the behaviour of the receiver. Production and perception are integral to communication in general and both sides of the equation must be considered when studying acoustic communication in any particular species or in any animal group. This chapter takes this integrative approach and considers equally both production and perception, in an attempt to understand acoustic communication in the chickadees. The discussion begins with a look at the production and perception of fee-bees and chick-a-dees in both field and laboratory studies of chickadees. Studies that use operant techniques to tease apart the mechanisms by which note structure and sequence are classified are reviewed.

This chapter examines the conversion of a composed song into a recorded song, the second stage of the song production process in the film-music industry in Mumbai, India. It explores the public side of song production from rehearsal to recording and analyzes the issues of economics and musicians' livelihoods. It evaluates the roles of a number other professionals in this stage of song production, including messengers and song violin.

This chapter, which discusses the auditory asymmetries in songbirds, reviews the evidence of motor asymmetries in the production of song, and then evidence of asymmetries in the perception of song. It also analyzes the question of sex differences in song lateralization, showing that while various species of songbirds display asymmetries in song production, the degree and side of lateralization can vary greatly between species. The chapter reveals that multiple and consistent lateralization effects for sensory processing in songbirds echo the lateralization findings for perceptual processing in other taxa, including humans, as well as robust lateralization findings in the vocal and visual system of songbirds in male song behavior. It suggests that studies of the development of hemispheric asymmetries of songbirds are very promising.

Chapter 1 explores key songs to establish the formative issues and political ideologies of North Korea, from the beginnings of the creation of official history, through the notion of “popular,” to the 1960s, by which time cultural production was being brought into line with the juche ideology of “self-reliance” and the Ch’ŏllima unitary system of work under the cult of the paramount leader, Kim Il Sung. It looks at Soviet and Chinese influence on song production, and at the legacy of Japanese colonialism, as well as the factionalism that was rife among artists in Pyongyang. The chapter explores how a national identity was established in which folk songs were the foundation, though folk songs were remodeled, removing local particularity but accommodating the lyrical style of professional renditions to create a characteristic vocal style known as the juche voice, and censoring or adjusting lyrics to comply with ideology. Key song composers are introduced, distinguishing “songs of the people” from “songs for the people,” and discussing “revolutionary songs” and “immortal songs.”

This chapter examines the origins of Indian film song in the late colonial era and the musical characteristics of early film songs (roughly 1931–1947). After an analysis of two songs from a 1943 film, the chapter briefly addresses the historical and social movements that led to Indian independence in 1947. Following a discussion of the music of the silent and actor-singer eras of Hindi cinema and the conventionalization of film song form, the chapter describes the production process for film songs, paying particular attention to the roles of the music directors and arrangers who are responsible for song composition. The chapter ends with a discussion of the music director Naushad Ali and an analysis of two of his songs.

This chapter examines the orchestras, orchestral procedures, instrumental change and programming involved in song production for the film-music industry in Mumbai, India. It states that the changes in the size of orchestra, the orchestral procedures, surrounding arrangements and background music, and the introduction of new instruments occurred independent of stylistic considerations. It evaluates the notion the Mumbai studio orchestra as an instrumental ensemble through analysis of the cultural and industrial conditions of orchestral musicianship.