Music of the Deep: An acoustic blueprint of sperm whale codas
Organizations: Independent Researcher, San Bruno, California 94066, United States
Abstract
Sperm-whale codas are usually described by the number and timing of their clicks. Earlier acoustic studies showed that individual clicks and longer coda sequences contain additional organization. We ask how that organization compares with music, whose smaller sounds also form larger units and ordered sequences. We compare codas with performed violin music, drum grooves, and sung melodies. Their sequences resemble music in some measures of predictability, yet codas show a different relationship between the smaller sounds within a unit and the order of units across a sequence. This combination was not observed in the musical references tested. Coda timing also varies coherently and carries information about individual callers. The recordings show another striking property: broad, reproducible variation along acoustic dimensions associated with human ratings of emotion, with a range comparable to human audio in most eligible tests. These findings motivate an acoustic blueprint that describes natural codas beyond their click timing. Its importance is apparent in synthetic audio: WhAM produces recognizable coda-like recordings, yet the tested clips remain distinguishable from natural codas in five of six acoustic comparisons after strict matching. The blueprint provides a fuller way to study natural codas and to evaluate how faithfully synthetic recordings represent them.
Figures & tables
| Question | What we measure | Main comparison or control |
| How do coda sequences compare with music? | Repetition, choices of next sounds, and prediction from earlier sounds | Unseen recording sources; matched event counts and frequencies; repetition-aware prediction |
| Do smaller sounds organize each unit similarly? | Contribution of constituent types and their original order to whole-unit acoustic form | Timing-only prediction; rearrangements retaining the same sounds and onset positions |
| What information is carried by click timing? | Coordinated changes in intervals and prediction of caller identity | Shuffled timing; unseen dates; recording-metadata and label controls |
| How much emotion-relevant variation occurs? | Reproducibility and range along human-rated valence and arousal directions | Validation on held-out human audio; resampling by recording source; measured-acoustic adjustment |
| Do selected properties respond to alteration? | Changes in sequence and waveform measurements following order or timing edits | Randomized changes and controls for edit severity |
| Do synthetic codas reproduce natural acoustics? | Natural–synthetic difference across six acoustic descriptions | Independent natural reference sets and strict matching of measured recording properties |
| Finding | Result | Reference or control |
| Adjacent click intervals change together | Correlation | Shuffled reference near ; adjusted |
| Phrase-final timing shift | Not supported after correction | |
| Caller recognition from repertoire and rhythm | Balanced accuracy | Shuffled labels ; |
| Caller information beyond recording context | Accuracy gain | 95% interval |
| Caller recognition from fine timing | Balanced accuracy | |
| Human-validated reference directions | 23 of 24 eligible | One excluded from confirmatory tests |
Bioacoustics
Bioacoustics uses sound to study animal activity, communication, biodiversity, and ecological change.
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