Title: Bulletin of the Michigan Ornithological Club
Identifier: bulletinofmichig11897mich (find matches)
Year: 1897 (1890s)
Authors: Michigan Ornithological Club
Subjects: Michigan Ornithological Club; Birds
Publisher: Grand Rapids, Mich. : The Club
Contributing Library: Harvard University, Museum of Comparative Zoology, Ernst Mayr Library
Digitizing Sponsor: Harvard University, Museum of Comparative Zoology, Ernst Mayr Library

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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
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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:

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