iSSj.j Bicknell on the Singing of Birds. I C 'I 



The ardent male usually arranges *t6 have these antics witnessed 

 by two or more of the plainer sex, as we are forced to speak of 

 the females of most birds, and we cannot doubt their efficacy in 

 captivating the objects of his ambitious passion. But as the 

 breeding season wears on, and the novelty of being many-wived 

 has, perhaps, come to be a matter of some concern with this 

 polygamist, its enthusiasm diminishes, and many songs fail at the 

 terminal note of ebullition. Songs of this character are referred 

 to beyond as half-songs. 



Cowbirds are somewhat uncertain and capricious in the use 

 of their voices, and show much variability in different years in 

 the continuousness of song. As a general thing singing is in- 

 frequent in June, although extending through this month and 

 into July. At this time the half-song is almost exclusively in 

 use, but the bubble notes may be produced as long as the bird 

 remains in voice. Dates of latest songs of the first period range 

 from July 6 to 23. 



There seems to be no regularity about singing in the fall ; but 

 I have heard imperfect notes and half-songs at different times 

 within a month after the middle of September. Sometimes, in 

 the autumn, when Cowbirds are assembled in small flocks, they 

 become garrulous, when their commingled utterance of low notes 

 produces a sound as of subdued warbling. 



On October S, 1SS2, I observed the male of a pair of Cow- 

 birds striving, and with some success, to produce before its mate 

 its full spring song, not forgetting the associated bodily contor- 

 tions. Such behavior, in an autumn bird, was at least highly 

 unseasonable, if not suggestive of illegitimate intentions. 



The singular bodilv action which accompanies the vocal 

 expression of the Covvbird conveys the suggestion that the air- 

 sacs of the body are brought into play in the production of song. 

 Tiie ducking of its head, the spasmodic motion of its tail, the 

 half-opening of its wings, the swelling of its body, which 

 collapses with the culminating notes ; all this, seems to point to 

 the utilization of the air-sacs — to their inflation and the muscular 

 expulsion of the contained air — in the execution of its singular 

 vocal performance. Indeed, from the peculiar bodily action of 

 many birds while in song, it is reasonable to suppose that the 

 air-sacs are often important adjuncts of the lungs and vocal 

 organs. Such bodily motions during singing, and the special 



