Saturday, April 3, 2010
This shizz is Effin AMAZING!!!! But is is REAL or FAKE?
A Lyrebird is either of two species of ground-dwelling Australian birds, most notable for their superb ability to mimic natural and artificial sounds from their environment. Lyrebirds have unique plumes of neutral coloured tailfeathers.
Lyrebirds are among Australia's best-known native birds. As well as their extraordinary mimicking ability, lyrebirds are notable because of the striking beauty of the male bird's huge tail when it is fanned out in display; and also because of their courtship display. A group of Lyrebirds is called a musket.
A lyrebird's call is a rich mixture of its own song and any number of other sounds it has heard. The lyrebird's syrinx is the most complexly-muscled of the Passerines (songbirds), giving the lyrebird extraordinary ability, unmatched in vocal repertoire and mimicry. Lyrebirds render with great fidelity the individual songs of other birds and the chatter of flocks of birds, and also mimic other animals, human noises, machinery of all kinds, explosions, and musical instruments. The lyrebird is capable of imitating almost any sound — from a mill whistle to a cross-cut saw, and, not uncommonly, sounds as diverse as chainsaws, car engines and car alarms, fire alarms, rifle-shots, camera shutters, dogs barking, crying babies, and even the human voice. Lyrebirds are shy birds and a constant stream of bird calls coming from one place is often the only way of identifying them and their presence. The female lyrebird is also an excellent mimic, but she is not heard as often as the male lyrebird.
One researcher, Sydney Curtis, has recorded flute-like lyrebird calls in the vicinity of the New England National Park. Similarly, in 1969, a park ranger, Neville Fenton, recorded a lyrebird song, which resembled flute sounds, in the New England National Park, near Dorrigo in northern coastal New South Wales. After much detective work by Fenton, it was discovered that in the 1930s, a flute player living on a farm adjoining the park used to play tunes near his pet lyrebird. The lyrebird adopted the tunes into his repertoire, and retained them after release into the park. Neville Fenton forwarded a tape of his recording to Norman Robinson. Because a lyrebird is able to carry two tunes at the same time, Robinson filtered out one of the tunes and put it on the phonograph for the purposes of analysis. The song represents a modified version of two popular tunes in the 1930s: "The Keel Row" and "Mosquito's Dance". Musicologist David Rothenberg has endorsed this information