Although the songs of humpback whales have been extensively studied, other vocalizations and percussive sounds, referred to as “social sounds,” have received little attention. This study presents the social vocalization repertoire of migrating east Australian humpback whales from a sample of 660 sounds recorded from 61 groups of varying composition, over three years. The social vocalization repertoire of humpback whales was much larger than previously described with a total of 34 separate call types classified aurally and by spectrographic analysis as well as statistically. Of these, 21 call types were the same as units of the song current at the time of recording but used individually instead of as part of the song sequence, while the other 13 calls were stable over the three years of the study and were not part of the song. This study provides a catalog of sounds that can be used as a basis for future studies. It is an essential first step in determining the function, contextual use and cultural transmission of humpback social vocalizations.

Much evidence for non-human culture comes from vocally learned displays, such as the vocal dialects and song displays of birds and cetaceans. While many oscine birds use song complexity to assess male fitness, the role of complexity in humpback whale (Megaptera novaeangliae) song is uncertain owing to population-wide conformity to one song pattern. Although songs change gradually each year, the eastern Australian population also completely replaces their song every few years in cultural ‘revolutions’. Revolutions involve learning large amounts of novel material introduced from the Western Australian population. We examined two measures of song structure, complexity and entropy, in the eastern Australian population over 13 consecutive years. These measures aimed to identify the role of complexity and information content in the vocal learning processes of humpback whales. Complexity was quantified at two hierarchical levels: the entire sequence of individual sound ‘units’ and the stereotyped arrangements of units which comprise a ‘theme’. Complexity increased as songs evolved over time but decreased when revolutions occurred. No correlation between complexity and entropy estimates suggests that changes to complexity may represent embellishment to the song which could allow males to stand out amidst population-wide conformity. The consistent reduction in complexity during song revolutions suggests a potential limit to the social learning capacity of novel material in humpback whales.

The study of marine soundscapes is a growing field of research. Recording hardware is becoming more accessible; there are a number of off-the-shelf autonomous recorders that can be deployed for months at a time; software analysis tools exist as shareware; raw or preprocessed recordings are freely and publicly available. However, what is missing are catalogues of commonly recorded sounds. Sounds related to geophysical events (e.g. earthquakes) and weather (e.g. wind and precipitation), to human activities (e.g. ships) and to marine animals (e.g. crustaceans, fish and marine mammals) commonly occur. Marine mammals are distributed throughout Australia’s oceans and significantly contribute to the underwater soundscape. However, due to a lack of concurrent visual and passive acoustic observations, it is often not known which species produces which sounds. To aid in the analysis of Australian and Antarctic marine soundscape recordings, a literature review of the sounds made by marine mammals was undertaken. Frequency, duration and source level measurements are summarised and tabulated. In addition to the literature review, new marine mammal data are presented and include recordings from Australia of Omura’s whales (Balaenoptera omurai), dwarf sperm whales (Kogia sima), common dolphins (Delphinus delphis), short-finned pilot whales (Globicephala macrorhynchus), long-finned pilot whales (G. melas), Fraser’s dolphins (Lagenodelphis hosei), false killer whales (Pseudorca crassidens), striped dolphins (Stenella coeruleoalba) and spinner dolphins (S. longirostris), as well as the whistles and burst-pulse sounds of Australian pygmy killer whales (Feresa attenuata). To date, this is the most comprehensive acoustic summary for marine mammal species in Australian waters.

High background noise is an important obstacle in successful signal detection and perception of an intended acoustic signal. To overcome this problem, many animals modify their acoustic signal by increasing the repetition rate, duration, amplitude or frequency range of the signal. An alternative method to ensure successful signal reception, yet to be tested in animals, involves the use of two different types of signal, where one signal type may enhance the other in periods of high background noise. Humpback whale communication signals comprise two different types: vocal signals, and surface-generated signals such as ‘breaching’ or ‘pectoral slapping’. We found that humpback whales gradually switched from primarily vocal to primarily surface-generated communication in increasing wind speeds and background noise levels, though kept both signal types in their repertoire. Vocal signals have the advantage of having higher information content but may have the disadvantage of loosing this information in a noisy environment. Surface-generated sounds have energy distributed over a greater frequency range and may be less likely to become confused in periods of high wind-generated noise but have less information content when compared with vocal sounds. Therefore, surface-generated sounds may improve detection or enhance the perception of vocal signals in a noisy environment.