Sexual dimorphism of sonic apparatus and extreme intersexual variation of sounds in Ophidion rochei (Ophidiidae): first evidence of a tight relationship between morphology and sound characteristics in Ophidiidae

Many Ophidiidae are active in dark environments and display complex sonic apparatus morphologies. However, sound recordings are scarce and little is known about acoustic communication in this family. This paper focuses on Ophidion rochei which is known to display an important sexual dimorphism in swimbladder and anterior skeleton. The aims of this study were to compare the sound producing morphology, and the resulting sounds in juveniles, females and males of O. rochei.Results: Males, females, and juveniles possessed different morphotypes. Females and juveniles contrasted with males because they possessed dramatic differences in morphology of their sonic muscles, swimbladder, supraoccipital crest, and first vertebrae and associated ribs. Further, they lacked the ‘rocker bone’ typically found in males. Sounds from each morphotype were highly divergent. Males generally produced non harmonic, multiple-pulsed sounds that lasted for several seconds (3.5 ± 1.3 s) with a pulse period of ca. 100 ms. Juvenile and female sounds were recorded for the first time in ophidiids. Female sounds were harmonic, had shorter pulse period (±3.7 ms), and never exceeded a few dozen milliseconds (18 ± 11 ms). Moreover, unlike male sounds, female sounds did not have alternating long and short pulse periods. Juvenile sounds were weaker but appear to be similar to female sounds.Conclusions: Although it is not possible to distinguish externally male from female in O. rochei, they show a sonic apparatus and sounds that are dramatically different. This difference is likely due to their nocturnal habits that may have favored the evolution of internal secondary sexual characters that help to distinguish males from females and that could facilitate mate choice by females. Moreover, the comparison of different morphotypes in this study shows that these morphological differences result from a peramorphosis that takes place during the development of the gonads

Deformation of Gabor systems

We introduce a new notion for the deformation of Gabor systems. Such deformations are in general nonlinear and, in particular, include the standard jitter error and linear deformations of phase space. With this new notion we prove a strong deformation result for Gabor frames and Gabor Riesz sequences that covers the known perturbation and deformation results. Our proof of the deformation theorem requires a new characterization of Gabor frames and Gabor Riesz sequences. It is in the style of Beurling's characterization of sets of sampling for bandlimited functions and extends significantly the known characterization of Gabor frames 'without inequalities' from lattices to non-uniform sets.

Highly eccentric hip-hop solutions of the 2N

We show the existence of families of hip-hop solutions in the equal-mass 2N-body problem which are close to highly eccentric planar elliptic homographic motions of 2N bodies plus small perpendicular non-harmonic oscillations. By introducing a parameter ϵ, the homographic motion and the small amplitude oscillations can be uncoupled into a purely Keplerian homographic motion of fixed period and a vertical oscillation described by a Hill type equation. Small changes in the eccentricity induce large variations in the period of the perpendicular oscillation and give rise, via a Bolzano argument, to resonant periodic solutions of the uncoupled system in a rotating frame. For small ϵ ≠ 0, the topological transversality persists and Brouwer's fixed point theorem shows the existence of this kind of solutions in the full system

Estructuración natural de las relaciones entre sonidos de altura definida : aproximación fenomenológica a las relaciones tonales

La mayoría de tratados de armonía enfocan las relaciones armónicas como el resultado de unas combinaciones concretas y hasta cierto punto aleatorias de sonidos y solamente muy de vez en cuando encontramos justificaciones de por qué unos determinados procesos armónicos tienen un resultado vivencial específico; incluso en esos casos, las explicaciones se quedan habitualmente en nada. En este trabajo estudiaremos a fondo cuáles son los fundamentos esenciales sobre los que se basa la música, entendida como un encadenamiento de frecuencias que, si bien es solamente una parte del todo musical, constituye un elemento muy importante. Para ello, la fenomenología de la música –el estudio del efecto de los sonidos sobre la conciencia humana– nos proporcionará las herramientas necesarias.