NEW ZEALAND BIRDS

Nelson Evening Mail, Volume LXIV, 20 January 1931, Page 12

NEW ZEALAND BIRDS

SONGS AND HABITS

MR JOHANNES ANDERSEN'S LECTURE Imitating N,ew Zoaland bird cries with realistic pantomime, telling amusing stories of their habits, and yet giving real insight into their lives and songs, Mr Johannes Andersen gave a most interesting and entertaining addrQss before tlie Teachers’ Summer School at Christchurch, reports the “Press.” In tho hour at his disposal, he was able to discuss only a few of the chief songsters, but ho thoroughly conveyed the enthusiasm and aesthetic satisfaction of his hobby. At tho end of the lecture some remarkable “close-ups” of bird life, taken on the sanctuary, Kapiti Islam), were shown by lantern. Mr Frank Milner introduced Mr Andersen as the most discriminating lover of birds in New Zealand. “We are all pupils of Nature,” began Mr Andersen, addressing bis hearers as fellow-pupils. “Most of us go through life with our eyes and ears closed,” ho continued, “but once our attention is attracted, we see and hear far more than otherwise we would.” BIRDS GRADUALLY RETURNING lie told how he had first undertaken the work of recording the songs of New Zealand birds when there was some danger of their becoming extinct. Now, however, with the planting of native •tree's in private gardens and the establishment of bird sanctuaries, tho birds were gradually returning and increasing. He emphasised the value of bird sanctuaries from which the birds went to all parts of tho country. Of bird-songs he had been able to record only a small proportion, for many of the songs were ebyornl the appreciation of musical instruments. Some birds sang in tones and semi-tones, but others used the intermediate tones as well. The songs he heard were not one-hundredth of those which the birds knew. Their repertoire was far greater than nan’s

DIFFERENCES NORTH AND SOUTH

There were many differences between North Island and South Island birds, even though they were of the same species. The whitehead, or bush canary, was the optimist of the bush, cheerful and loquacious. They did not sing to melody and always sang impromptu. The whitehead was already returning to the North Island, and was always to he found in flocks, although when they sang each bird sang differently. In the South Island the flocks would always sing in unison. Ordinarily they sang when tinveiling through the bush linking for insect food. When the leader started his song, the others would stop looking and sing for a time. And so they went on through the bush, singing and fcedii g alternately. One of their little peculiarities was the quivering' of the birds’ tails during their song. They must know their songs, for they all sank together. SOME ACCOMPLISHED SINGERS There were not a groat number of songsters in New Zealand, but some of them were really accomplished. The grey warbler or riro-riro was one of the best of the smaller songsters, and one to which he was particularly partial. It had a different song in every part of New Zealand. In the bush of Banks Peninsula its song was indefinite, but in the City it sang to a definite time and melody. He believed actually that there were two species, although science did not recognise them. The birds showed that they knew perfectly well the intervals that they used, singing alternately in semi-tones and quarter-tones. Incidentally, it was clear that birds sang for their own delight, and that there were good and bad singers among them. There was no truth in tho scientific explanation that birds sang for sexual attraction. He had seen a female bird peck the male to stop it from singing, and another fly from the male’s song. The singing was, however, a sign of taking possession, being in that respect utilitarian as well as aesthetic. 1 lie best songsters were among the larger birds, particularly the tui and the bellbird, which were almost without peer. Mr Andersen said that he bad taken down more than 200 songs of the tui and more than 100 of the bell-bird. I lie tui had many different songs for all occasions. He was a great mimic, andilho Maori was actually able to make him speak. Unfortunately, be would frequently mix up ugly imitations with his own beautiful songs. He could sing most beautifully, but be would always introduce these harsh notes. The Maori liked the tui’s song because lie cared for words, not for melody. In the morning and the evening the tui had his bell-song. He bad a range of more than four octaves. Some of the whisper songs,” indeed, were so highly-pitched that the ear could scarcely detect the notes.

DUETS AND CHORUSES Besides luiving a great repertoire himself, the tui would join with the bellbirds in singing duets and choruses. These were the choruses which attracted Captain Cook more than 100 years ago when NeW Zealand was plentifully slocked with the birds. They were among the finest songs to be heard in the New Zealand bush, but one had to be an early riser to hear them. On Kapili Island, at about 3 a.m., the first call of the tui for the morning chorus could bo heard. Bird after bird joined in, some singing the parts already sounding, others singing new parts. Sometimes the chorus lasted for 15 or 20 minutes. lie had heard them in as much as live parts, but those of three parts were among the most beautiful. The bell-bird used the same harsh notes as the tui, but used them in an artistic way, apparently with a purpose. In between the harsh notes, little themes with variations would frequently be sung. THE COMICAL KEA The kea was a peculiarly Canterbury bird which was in danger of extinction. It. was one of the most comical birds. Unfortunately it .was doing damage to the sheep; but those birds which were, being killed were uot the ones which did the damage. The effect of ottering a royalty laid been to make people kill keas in parts where they did no damage at all. In a way, the kea was a natural geologist as well as a very amusing fellow.