They give me information and talk to me, but in a nonvocal way.
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While a lot of the previous work has been on a neural circuit known as the song system of male birds, we're specifically interested in understanding the song system in nonvocal female birds in regulating courtship behavior.
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Vocal learning and beat perception do some overlapping in the parts of the brain that account auditory and motor areas. There is no significant evidence for beat perception in nonvocal learning species such as dogs and cats. However, California sea lions, a nonvocal learning animal, have demonstrated the ability to perceive beats in music.
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Its vocalizations consist of a sharp "chup" or "tsip", which it repeats when alarmed It also produces nonvocal sounds with its wings.
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The Dynamic Dance: nonvocal communication in African great apes. Harvard University Press, Cambridge, MA. language development,Tomasello, M. (2003). Constructing a language: A usage-based theory of language acquisition. Harvard University Press, Cambridge, MA. language evolution,Tomasello, M. (2008).
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Both sexes give threat calls, but each are different. In addition, females and immature individuals will emit so-called "female calls" when angry. Honks, roars and snarls are made during low-intensity agonistic encounters. Nonvocal displays include leaping-branch shaking, bare-teeth open mouth threats and erection in males, made in the same situations.
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Some receivers emitted calls that were snake- related, and therefore represented receivers with knowledge of the predator, while other receivers emitted calls that were not snake-related, and therefore represented receivers without knowledge of the predator. In response to the non-snake-related calls from receivers, the signallers increased their vocal and nonvocal signalling and coupled it with increased receiver monitoring.
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Males mark their territory with olfactory marks, using secretion glands on the head skin, which they rub against trees, shrubs, and high grasses, or with visual marks, by fraying trees with their antlers. Vocal signals are also a form of communication in Siberian roe deer. They have six signals: squeaking or whistling, rasping, barking, whining, screaming, and nonvocal sounds. Some Siberian roe deer perform mass migrations.
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Biographer John McCabe also praised Cagney's portrayal: :There are few actors who can make nonvocal thought meaningful and interesting. Cagney does so by the great actor's technique of actually thinking the necessary thoughts and letting them register naturally and unaffectedly on his features, opening himself up to these thoughts and these alone. Toward the end of The Gallant Hours, when he is increasingly alone in his command center, his acting becomes almost pure thought.Cagney by James McCabe, p. 319.
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In general, aggressive panhandling is a solicitation made in person for immediate donation of money or other gratuity. This may be done by vocal appeal (asking, requesting, coercing (badgering), sympathy appeals, harassment, threats, or demands) or by nonvocal appeal (usage of signs or other signals gestures, postures, children, animals, or props such as toys and musical instruments). It is a habitual manipulative, coercive, or intimidatory use of another individual's sympathy, fear, guilt, or insecurity for monetary gain.
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Several researchers have investigated the use of whinnies, which consist of between two and 12 quick increases and decreases in pitch, in more detail. This research has indicated one additional purpose of whinnies is to call other group members to a food source. Other purposes of whinnies suggested by this research have included maintaining vocal contact with other group members while traveling and distinguishing between group members and members of other groups. Geoffroy's spider monkey uses several forms of nonvocal communication.
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Such systems are rather common in South American languages. There is little direct onomatopoeia recorded by Bridges, despite descriptions of highly animated imitative behavior on the part of speakers being recorded in the late 19th century. Several bird names are perhaps reduplications of calls (or other nonvocal behavior), and there are a couple of imitative cries and sound words. Most words denoting sounds end in an unproductive verb-deriving suffix -sha (in at least one case -ra, and r is known to alternate with sh), which may be derived from the Yahgan root ha:sha 'voice, language, uttered words, speech, cry', or vra 'to cry' — e.g.
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The male blue-throated sapphire sings in leks and has a vocal song that greatly varies between different leks, and, less commonly, within a lek. The song "typically [is] a phrase of 5-8 notes, the first a piercing tseee, followed by a series of single or double notes, or short trills; a male usually gives 1-3 such phrases, pauses, then repeats: seee; sa se sa se sase; tseet twosip twosip twosip; or zeee wrrr zewet zewet zewet, etc." Blue-throated sapphire's call is described as "a high, buzzy tzip or tzet; aggressive note a sharp, liquid, descending twitter". Nonvocal sound has not been documented, except for the "whirring" or "humming" sound generated by the wings' flapping.
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Children talk to themselves aloud while carrying out a task or activity; this is what Piaget called "egocentric speech" (1926), but has more recently come to be known as "private speech." To guide themselves, children often use speech or phrases that they have heard during collaborative action with peers or adults, and sometimes even imitate their caregiver's voice (Luria 1961). There is evidence that the proportion of private speech that children use increases when the task they are engaging in is more difficult or novel; in addition, private speech tends to precede action in these cases, thereby playing a planning function for children (Duncan & Pratt 1997). Vygotsky's experimental data supported the idea that children's private speech originates in social interaction, and later becomes internalized as inner (nonvocal) speech, a tool for verbal thinking, planning, and self-regulation.
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The origins and scope of women's music festivals is documented, and they are described in the film's narration as "the heart and soul of the movement". The film discusses contributions in the area of accessibility from women's music events to the larger society, recognizing that "sliding scale ticket prices, sign-language interpreters, and wheelchair access … were first instituted in the women's music movement". The broadening of the focus of women's music from "white girls with guitars" to include more women of color and to incorporate other musical genres such as "classical, choral, jazz and improvisation, rhythm and blues, indigenous, non-Western, punk, rock, and nonvocal genres" as well as performance genres such as comedy, dance, and theater is detailed. The film discusses separatism and women-only spaces at some music festivals, and tells the "terrifying and inspirational tale" of two women's "efforts to launch Camp Sister Spirit and the Gulf Coast Women's Festival in Ovett, Mississippi".
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