34 



Bulletin of the Michigan Ornithological Club. 



The White-throated Sparrow. 



BY MORRIS GIBBS. 



THIS musical prodigy and divine 

 ventriloquist is also known by the 

 name of Peabocly-bird, from a fan- 

 cied resemblance in its song to the syllables 

 pea-bod-y. Bat we shall find that other 

 syllables equally well express the notes, 

 causing us to wonder if we are incapable 

 of defining a bird's song, or if we are de- 

 ceived in our estimate of musical efforts 

 among the feathered choristers. How- 

 ever, the notation, as presented in the song 



Wood Thrush, or ecstatic warble of the 

 Warbling Vireo, to 'Comrades,' or 'The 

 Last Rose of Summer.' Sentiment does 

 exist between man and birds, but surely — 

 'comparisons are odious' — when we 

 attempt them in regard to bird songs. 



Let us study the simple, plaintive song 

 of this pleasing sparrow and attempt to dis- 

 cover its charm. You may call the in- 

 vestigation a critism, if you wish, for the 

 performer cannot be disparaged by any- 

 thing which critics may offer. 



We are surprised to find that the full 

 song is expressed within the range from 

 c to <7, inclusive, and comprised by three 



Downy Woodpecker. 



From 'Sketches of Some Common Birds.' 



of the White-throated Sparrow, is easily 

 set to a musical scale, though, as will be 

 seen, various words may then be framed 

 as an accompaniment. This is eminently 

 true of all birds' notes, and shows conclu- 

 sively that comparison of bird music, and 

 bird-talk or songs with our language is 

 hardly compatible. Comparison in scale 

 of notes is allowable, as is readily seen, 

 but aside from this mechanical standard, 

 there is a vast gulf which it is impossible 

 to bridge. It is ridiculous to compare the 

 rattle of the House Wren with 'Annie 

 liooney,' or the sweet bell-like notes of the 



key notes only, thus: c-g-e-eee-eee and 

 so on, on the e short notes indefinitely. 

 This is easiest expressed in the second 

 octave of the treble clef of the piano or 

 organ, but is more nearly and feelingly 

 imitated on the flute, which, clear and 

 sweet, best defines bird melody — by the 

 side of which the piano-forte appears harsh 

 in the extreme. Commonly there are 

 three measures of the e note, each giving: 

 three quarter notes, with a rest. The 

 quaver exhibited by these quarter notes is 

 the charm of the song. Expressed in 

 music the notes run thus: 



