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PART 3: MOTOR STRATEGIES #11: MATE CALLING IN CRICKETS I exam I motor strategies mate calling in crickets song production by s song recognition by s sender-receiver matching summary MOTOR STRATEGIES SENSORY INPUT MOTOR OUTPUT VISION GUSTATION AUDITION MOTIVATION CENTRAL INTEGRATION OLFACTION COURT FORAGE ATTACK ESCAPE FREEZE MOTOR STRATEGIES SENSORY INPUT MOTOR OUTPUT VISION GUSTATION AUDITION MOTIVATION CENTRAL INTEGRATION OLFACTION COURT FORAGE ATTACK ESCAPE FREEZE MOTOR STRATEGIES SENSORY INPUT MOTOR OUTPUT VISION GUSTATION AUDITION MOTIVATION CENTRAL INTEGRATION OLFACTION COURT FORAGE ATTACK ESCAPE FREEZE MOTOR STRATEGIES complex activity, requires eg, coordinated operation of limbs often rapid & appropriate responses to environmental signals sensory-motor interface... behavior itself changes requirements of subsequent behavior MATE CALLING IN CRICKETS song production by s only... innate recognition by s... innate attraction by s s navigate s... courtship stereotypic song many species... many different songs MATE CALLING IN CRICKETS ~ 2600 modern cricket species most work on 3 related temperate latitude families: bush crickets (Tettigoniidae) field crickets (Gryllidae) mole crickets (Gryllotalpidae) most nocturnal high predation... many predators, avoid by hiding, freezing, burrowing, fleeing, camouflage short calls ~ ventriloquism... hard to locate MATE CALLING IN CRICKETS song production in s by scraping wings together several types of song calling song courtship song aggressive song MATE CALLING IN CRICKETS song production in s by scraping wings together several types of song calling song response = positive phonotaxis call & remain stationary... attract single call & move... attract many s amplify & direct call using hollow trees, burrows courtship song aggressive song MATE CALLING IN CRICKETS song production in s by scraping wings together several types of song calling song courtship song 1 of many signals (olfactory, visual, tactile) aggressive song MATE CALLING IN CRICKETS song production in s by scraping wings together several types of song calling song courtship song aggressive song establish territory threaten impending aggression MATE CALLING IN CRICKETS several types of song 1st…how NOT to study cricket songs… calling song… courtship song aggressive song… establish territory threaten impending aggression SONG PRODUCTION BY s calling by wing scissor motion = stridulation file & scraper on wings sound ~ comb chirps & syllables sonogram... amplify... SONG PRODUCTION BY s oscillogram cycles carrier frequency 5 kHz 1 scraper tooth pulses = syllables 1 stridulation chirps & trills sequences SONG PRODUCTION BY s cricket CNS chain of ganglia = functional aggregates of neurons linked by paired connectives brain (3 fused) HEAD sensory input subeosphageal ganglion thoracic ganglia (3) abdominal ganglia (?) SONG PRODUCTION CIRCUITRY meso- & metathoracic ganglia motor neurons innervate wing elevator muscles wing depressor muscles SONG PRODUCTION CIRCUITRY meso- & metathoracic ganglia motor neurons innervate wing elevator muscles wing depressor muscles observe a coordinated sequence of events… record from motoneuron muscle... EMG electromyogram SONG PRODUCTION CIRCUITRY correlate with tegmen movement muscle contraction sound... closing only note timing of events oscillating pattern reciprocal output to antagonistic muscles typical rhythmic motor activity... eg ,walking SONG PRODUCTION CIRCUITRY correlate calls (A) interneuron spikes motoneuron spikes activity (B) inhibition (C) thoracic ganglia contain central pattern generator TRIGGERING A SONG central pattern generator (CPG) call “machinery” brain call “decision”... from 3 experiments: focal stimulation in head call & courtship songs stimulate cervical connective (in “neck”) call & courtship songs cut off head... stimulate individual neurons in cervical connective... call, courtship & aggression single neurons encode each type of trigger TRIGGERING A SONG central pattern generator (CPG) call “machinery” brain call “decision” signals not ~ timing of calls, only onset TRIGGERING A SONG brain / cervical connective stimulation shows that... 1. behavior onset but not pattern timing ~ stimulation descending signals need patterning from CPG 2. stimulus freq. ~ rate of chirping only rate encoded by brain 3. stimulus freq. or strength transition from call courtship or aggression weakest trigger call TRIGGERING A SONG brain / cervical connective stimulation shows that... 4. duration of brain stimulus ~ duration of call constant brain stimulus required for call 5. some stimulation call suppression... stimulus off resumed calling more intense, often courtship, postinhibitory rebound ~ song courtship in nature SONG RECOGNITION BY s song & response studied for > 200 yrs how do s recognize song ? navigate s ... phonotaxis ? can test for hrs distance constant never “” many versions of device... different questions SONG RECOGNITION BY s walks toward artificial call zigzag pattern oscillations 60° ~ direct line to source SONG RECOGNITION BY s what song features attract s ? computer-constructed songs played s varied components syllable rate syllable duration chirp rate # syllables / chirp duty cycle / chirp SONG RECOGNITION BY s what song features attract s ? computer-constructed songs played s varied components syllable rate 30 / s others not critical SONG RECOGNITION & LOCALIZATION how does the first recognize the song ? localize the song ? ears on forelegs 2 tympanic membranes ~ 60 auditory receptor cells auditory neurons auditory nerve CNS (prothoracic ganglion) associated with trachea SONG RECOGNITION & LOCALIZATION tracheal tubes = insect “lungs” connect tympanum outside via spiracles sound via 2 routes direct indirect distance ½ wave pull / push BREAK
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