WEBVTT - Do Animals Appreciate Music?

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<v Speaker 1>Hey, welcome to Sign Stuff, a production of iHeartRadio. I'm

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<v Speaker 1>Hoorheit Champ, and today we're tackling the question can animals

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<v Speaker 1>appreciate music?

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<v Speaker 2>Now?

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<v Speaker 1>This is a special episode because we're going to talk

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<v Speaker 1>to three people who play music for animals, but to

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<v Speaker 1>each do it for a different reason. We're going to

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<v Speaker 1>talk to an artist who sings to exotic animals to

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<v Speaker 1>make online videos, an animal well for a specialist who

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<v Speaker 1>works in the meat industry, and a psychologist who's interested

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<v Speaker 1>in the musicality of animals. To bring your pets along

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<v Speaker 1>and home tune with us as we answer the question

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<v Speaker 1>can animals appreciate music?

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<v Speaker 3>Well?

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<v Speaker 1>Hey, everyone, all right. The first person we're talking to

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<v Speaker 1>today is a musician who's known for posting videos where

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<v Speaker 1>he sings to animals. If you spend time on social media,

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<v Speaker 1>chances are you've seen Lauris, Aesadian who goes by the

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<v Speaker 1>artist's name Plumes, playing a guitar outside in a farm

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<v Speaker 1>or a field, singing to cows, parrots, lamas, mirkats, pandas,

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<v Speaker 1>and even to raffs.

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<v Speaker 4>Las Plumes his.

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<v Speaker 1>Videos get millions of views, and his Instagram account, Plumes Official,

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<v Speaker 1>has over a million followers. My biggest question for Plumes

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<v Speaker 1>was do the animals actually react to his music? Well,

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<v Speaker 1>thank you so much, mister Assadian for joining us.

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<v Speaker 5>Of course, thanks for having me.

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<v Speaker 1>Can you please tell us who you are and what

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<v Speaker 1>you do.

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<v Speaker 5>Yeah, so I'm a singer. I'm a French singer and

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<v Speaker 5>my artist's name is prim and I sing for a

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<v Speaker 5>pretty unusual crowd, I would say, because it's animals, and yeah,

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<v Speaker 5>I've been doing this for awhile.

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<v Speaker 2>Now.

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<v Speaker 1>Yeah, you push your videos on Instagram.

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<v Speaker 5>Exactly, Yeah, on pretty much all social media platforms.

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<v Speaker 1>Why did you start playing music for animals?

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<v Speaker 5>Well, I've found out that carols like music over three

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<v Speaker 5>years ago now, so naturally I want to try it

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<v Speaker 5>out for myself, being a musician and at the time

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<v Speaker 5>I was living in the countryside with my grandma, so

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<v Speaker 5>there's lots of cals around, so it was the perfect

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<v Speaker 5>opportunity for me, and so I went in there. I

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<v Speaker 5>was pretty scared at first.

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<v Speaker 1>Were you afraid that they would do harm to you

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<v Speaker 1>or that they wouldn't like your music?

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<v Speaker 5>I guess both that they wouldn't like my music, so

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<v Speaker 5>they would do harm to me as a replication of

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<v Speaker 5>the thing. But there's giants, so I guess it can

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<v Speaker 5>be a bit overwhelming. And they're also very curious, so

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<v Speaker 5>they will come running towards you and you don't know

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<v Speaker 5>if they're going to stop or not. So I was

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<v Speaker 5>a bit scared. Now I'm not scared at all. Even

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<v Speaker 5>though you have to be careful with animals sometimes you

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<v Speaker 5>have to respect the boundaries and stuff. But yeah, now

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<v Speaker 5>I'm not scared.

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<v Speaker 3>Wow.

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<v Speaker 1>How do animals typically react to you playing music for them?

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<v Speaker 5>Well, they pretty much all want to get closer to

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<v Speaker 5>the music and investigate what the music is all about.

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<v Speaker 5>Some of them even like rub their heads against me

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<v Speaker 5>or try to have a contact, and others they just

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<v Speaker 5>stay around to listen to music and it can last

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<v Speaker 5>sometimes up to an hour.

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<v Speaker 1>Do you see them react to the specific songs, because

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<v Speaker 1>I know sometimes in the video it seems like they're

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<v Speaker 1>dancing to the music.

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<v Speaker 2>Yeah.

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<v Speaker 5>Sometimes, and some animals like parrots, have a sense of

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<v Speaker 5>rhythm and they will start dancing in rhythm to the

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<v Speaker 5>music and sometimes singing along and stuff like this.

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<v Speaker 1>Any other interesting reactions that you've noticed.

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<v Speaker 5>Mostly surprises, I would say, because there are some animals

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<v Speaker 5>that you didn't expect to come close because they're wild,

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<v Speaker 5>like the okps. I sang for an okp and I

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<v Speaker 5>was warned before that nothing is going to happen, basically

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<v Speaker 5>like you can try anyways, but it's not worth it

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<v Speaker 5>in a way. And I went in there anyways, and

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<v Speaker 5>he came right against me to listen to music for

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<v Speaker 5>like an hour, all right.

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<v Speaker 1>If you look at Plumes's account Plumes of VCL, you

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<v Speaker 1>see videos of them playing music to cows, goats, puppies, cats, pigs,

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<v Speaker 1>mini pigs, horses, parrots, capybaras, meerkats, copies, elephants, giraffes, donkeys, deer, sheep, lemurs, flamingos, tapiers, owls, pandas, penguins, camels, rhinoceroses, gibbons, seals, raccoons, tigers,

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<v Speaker 1>oh my. And in the videos you'll see the animals

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<v Speaker 1>appear to react to his music playing. The animals will

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<v Speaker 1>often come up to Plumes and we're curious or interested

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<v Speaker 1>in the music. There's one video where he plays a

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<v Speaker 1>Lady Gaga song to a white tiger and the tiger

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<v Speaker 1>seems to come over and sit down to listen. Or

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<v Speaker 1>in another video, he plays an Oasis song to some

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<v Speaker 1>orangutans and the orangutans not only come over to listen,

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<v Speaker 1>but one of them starts to clap, which made me

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<v Speaker 1>wonder what kind of music does each animal like to hear?

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<v Speaker 1>So in your videos you've sung Green Day to puppies,

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<v Speaker 1>Bruno Mars to horses, the Beatles to donkeys, Katie Perry

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<v Speaker 1>to flamingos. How do you pick the music to sing

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<v Speaker 1>to each animal?

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<v Speaker 5>Well, if there's a little nod or a little wink

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<v Speaker 5>to like a species, I like to choose that song.

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<v Speaker 5>I will play three Little Birds for parrots or things

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<v Speaker 5>like this, you know, But usually it's mostly like love

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<v Speaker 5>songs because I feel like the intent is very important

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<v Speaker 5>and somehow they can feel the intent that you're putting

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<v Speaker 5>out there.

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<v Speaker 1>So what has been your favorite animal to play for

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<v Speaker 1>so far?

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<v Speaker 5>I would say the rhinos because it was like the

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<v Speaker 5>most powerful expanse in a way, because once again we

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<v Speaker 5>were told that they might not approach and they ended

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<v Speaker 5>up being like right against me. I was on top

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<v Speaker 5>of a rock for safety issues, and we thought they

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<v Speaker 5>couldn't reach that rock. Turns out they could, and yeah,

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<v Speaker 5>they kind of touch me with their arms. It was

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<v Speaker 5>a bit dangerous this time. I'm not gonna lie, but

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<v Speaker 5>it was so powerful and we all like to de

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<v Speaker 5>season once in a lifetime moment for us.

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<v Speaker 1>So they did react to the music.

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<v Speaker 5>Yeah, yeah, they were very curious. And we even came

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<v Speaker 5>back the next day and the same thing happened.

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<v Speaker 1>And so they seemed to generally react to the music.

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<v Speaker 3>Yeah.

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<v Speaker 5>Yeah, a lot of people don't want to see that

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<v Speaker 5>animals are sensitive so that they would come anyways no

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<v Speaker 5>matter what. But turns out when well, there are twenty

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<v Speaker 5>minutes beforehand to set up the cameras and the mics

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<v Speaker 5>and stuff, and the animals don't come, and it's only

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<v Speaker 5>when the music stells that they end upcoming her. So

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<v Speaker 5>it's interesting to reat us.

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<v Speaker 1>Oh wow, Now I know what you're thinking. This doesn't

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<v Speaker 1>sound very scientific, and it's not. We're going to talk

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<v Speaker 1>to two scientists later in the program who do academic

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<v Speaker 1>research on the connections between animals and music. But what's

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<v Speaker 1>interesting about these videos is not how the animals react

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<v Speaker 1>to the music, but how one specific animal reacts to

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<v Speaker 1>the videos themselves. Well, I think the most interesting animal

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<v Speaker 1>reaction you have to your videos is from people. Yeah,

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<v Speaker 1>let me read you a couple of comments. I saw

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<v Speaker 1>somebody said, your videos make me look and feel animals

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<v Speaker 1>in a way that is totally new for me. And

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<v Speaker 1>that's if you sort of echo what you said the

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<v Speaker 1>first time you did this. What do you think is

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<v Speaker 1>happening to people who see these videos of you playing

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<v Speaker 1>to animals?

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<v Speaker 5>Yeah, I guess if I can make people click the

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<v Speaker 5>same way clicked for me when I first met animals,

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<v Speaker 5>it's great, you know, because I don't want to be

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<v Speaker 5>like telling people what to do, so I guess I

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<v Speaker 5>just put my videos online and people take what they

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<v Speaker 5>want from it. Like a lot of times, people tell me, yeah,

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<v Speaker 5>I stopped teaching meat since I first started watching your wids,

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<v Speaker 5>and that means a lot to me if I can

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<v Speaker 5>have a positive impact on the animal world.

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<v Speaker 1>When you said something click, what do you mean by that?

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<v Speaker 5>Well, for me, I stopped teaching meat today I met animals,

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<v Speaker 5>so there's definitely something that clicks for me. I was like,

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<v Speaker 5>how can I think for a cow in the afternoon

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<v Speaker 5>and then at night itter s.

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<v Speaker 3>Tech or whatever.

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<v Speaker 1>Somebody also said you are such a bright, beautiful spot

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<v Speaker 1>in a troubled world. Thank you for creating a bridge

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<v Speaker 1>between humans and animals.

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<v Speaker 5>That's very kay. I feel like It might sound a

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<v Speaker 5>little bit boomer, but I feel like maybe we lost

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<v Speaker 5>touch on generation with nature, and so maybe it feels

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<v Speaker 5>good for people to get that back, to see people

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<v Speaker 5>hanging out with animals. I think it can definitely feel

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<v Speaker 5>even powerful and soothing for people to watch.

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<v Speaker 1>Yeah, a lot of people mention that we're living in

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<v Speaker 1>very troubled times.

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<v Speaker 5>I know I have a lot of American people following me,

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<v Speaker 5>and I don't know much about politics and stuff, but

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<v Speaker 5>I guess it's not the best right now. I don't

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<v Speaker 5>really know, So if I can help to make them

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<v Speaker 5>feel a little bit better, that's great.

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<v Speaker 1>All right. So we have a first send account someone

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<v Speaker 1>who's played music to penguins, seals, drafts, and all kinds

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<v Speaker 1>of animals, and he reports that animals in general do

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<v Speaker 1>reactive with music and seem genuinely curious about it. Next,

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<v Speaker 1>we're going to talk to scientists who's done something similar

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<v Speaker 1>to plumes, but in a scientific setting. She's played music

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<v Speaker 1>to pigs to figure out what kind of music they

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<v Speaker 1>like to listen to and whether or not music can

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<v Speaker 1>make pigs feel emotions. We'll dig into that, but first

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<v Speaker 1>I should tell tell you about a terrible idea I had.

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<v Speaker 1>Is there anything that you would like to tell folks

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<v Speaker 1>out there?

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<v Speaker 3>Yeah?

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<v Speaker 5>Yes, So a lot of people are afraid to copy

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<v Speaker 5>my VIDs when they go and sing for animals. And

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<v Speaker 5>I would say, if you've seen make it, honestly, it's

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<v Speaker 5>so nice. If I can inspire people to do the

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<v Speaker 5>same thing, I won't take it badly at all. So

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<v Speaker 5>if you're a musician and you want to try it out,

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<v Speaker 5>please do.

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<v Speaker 1>Oh great, I might try it out for this episode.

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<v Speaker 3>All nice?

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<v Speaker 5>Did you play music?

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<v Speaker 1>I play a little piano and a little bit of guitar,

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<v Speaker 1>but I'm a terrible singer. I think that might be

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<v Speaker 1>the problem, but.

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<v Speaker 5>I don't think they care, honestly, can't the least judge

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<v Speaker 5>the audience that I've had.

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<v Speaker 1>Stay with us, We'll be right back, Welcome back. All right.

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<v Speaker 1>We're answering the question can animals appreciate music? And we

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<v Speaker 1>just heard from a musician play music for animals ranging

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<v Speaker 1>from giraffes to pandas, and according to him, the animals

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<v Speaker 1>do react, or at least they seem treious. So another

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<v Speaker 1>question is is this really true? Do animals have an actual

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<v Speaker 1>emotional reaction when you play human music for them? To

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<v Speaker 1>answer this question, I talk to someone who does research

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<v Speaker 1>in animal welfare, Professor Maria Camilla Sevaios.

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<v Speaker 2>I am Maria Camilla Sevadius, and I am Associate Professor

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<v Speaker 2>of Animal Welfare and Behavior at the University of Calgary.

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<v Speaker 2>I am a researcher and specifically my research focus in

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<v Speaker 2>finding strategies to improve the quality of life of animals,

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<v Speaker 2>especially captive animals. One of the research lines which I

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<v Speaker 2>have started is in a strong collaboration with doctor Erardo Rodriguez,

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<v Speaker 2>is identifying music as a possible environmental enrichment.

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<v Speaker 1>What is this idea of using music for animal welfare?

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<v Speaker 2>When we have captive animals, there are different strategies to

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<v Speaker 2>improve their welfare. Right, One way to improve their welfare

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<v Speaker 2>is giving them some environmental such as give them control

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<v Speaker 2>of the environment where they are or make that environment better.

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<v Speaker 2>Music is and now it is environment talentca so we

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<v Speaker 2>can use different kinds of sounds to improve the environment.

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<v Speaker 3>Where they are.

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<v Speaker 1>I guess what do we know about how animals respond

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<v Speaker 1>to music?

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<v Speaker 2>In animals, there is a lot of studies demonstrating that

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<v Speaker 2>different species of animals they react to music. They change

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<v Speaker 2>behaviors depending on the quality of the music or the

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<v Speaker 2>type of music that you put they will react right.

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<v Speaker 1>According to doctors Valius, there have been many studies that

0:11:39.280 --> 0:11:42.560
<v Speaker 1>have looked at how animals react to music. Scientists have

0:11:42.640 --> 0:11:48.120
<v Speaker 1>cleared music to gorillas, chimpanzees, sparrows, elephants, cows, and dogs,

0:11:48.480 --> 0:11:53.000
<v Speaker 1>to somewhat mixed results. Some studies find that the animals

0:11:53.040 --> 0:11:57.880
<v Speaker 1>do react while others don't, and usually the studies use

0:11:58.000 --> 0:12:02.400
<v Speaker 1>classical music. For example, a scientists have tested whether classical

0:12:02.480 --> 0:12:06.840
<v Speaker 1>music makes guerrillas less anxious. It does, or whether it

0:12:06.880 --> 0:12:11.280
<v Speaker 1>helps dogs sleep better. It does. In one study, scientists

0:12:11.320 --> 0:12:15.160
<v Speaker 1>from the University of twelf tested whether country music made

0:12:15.200 --> 0:12:19.000
<v Speaker 1>cows want to be milk more it does. It all

0:12:19.040 --> 0:12:22.120
<v Speaker 1>makes doctor Sivaias and her colleagues wonder if the type

0:12:22.120 --> 0:12:25.080
<v Speaker 1>of music played to pigs made a difference.

0:12:27.240 --> 0:12:31.040
<v Speaker 2>For example, we did a study in collaboration with doctor

0:12:31.040 --> 0:12:34.920
<v Speaker 2>Bernardo from the University of Antiochia and Juliana who was

0:12:34.960 --> 0:12:37.400
<v Speaker 2>the first author of this was her PhD.

0:12:37.559 --> 0:12:37.920
<v Speaker 3>Study.

0:12:38.240 --> 0:12:42.160
<v Speaker 2>We wanted to see first if pigs will react to

0:12:42.280 --> 0:12:46.160
<v Speaker 2>music right, and second, after we identified if they react

0:12:46.240 --> 0:12:50.040
<v Speaker 2>or not, what kind of music they like. More So Bernardo,

0:12:50.080 --> 0:12:52.400
<v Speaker 2>he is a musician so he created different kinds of

0:12:52.480 --> 0:12:56.599
<v Speaker 2>music where he knew all this spectro temporal characteristic of

0:12:56.640 --> 0:12:59.679
<v Speaker 2>the music. So, for example, number of instruments the high

0:12:59.720 --> 0:13:03.599
<v Speaker 2>frank and see contained the amplitude, the same troid desonance

0:13:03.800 --> 0:13:05.480
<v Speaker 2>right the spectral devia.

0:13:05.559 --> 0:13:06.640
<v Speaker 3>So there are a lot.

0:13:06.480 --> 0:13:10.120
<v Speaker 2>Of different things that you know as a musician that

0:13:10.200 --> 0:13:11.360
<v Speaker 2>you have the information.

0:13:12.240 --> 0:13:15.120
<v Speaker 1>Doctor Sibaias and her colleagues wanted to know what kind

0:13:15.160 --> 0:13:18.920
<v Speaker 1>of music pigs react to. So they created music pieces

0:13:19.040 --> 0:13:23.120
<v Speaker 1>that had different properties, how complex it is, what frequencies

0:13:23.160 --> 0:13:27.920
<v Speaker 1>it had, and specifically they varied something called consonants. Now

0:13:27.960 --> 0:13:30.000
<v Speaker 1>I'm not a musician, but the idea is that a

0:13:30.040 --> 0:13:34.319
<v Speaker 1>certain combination of notes seem more pleasant to us than others.

0:13:34.640 --> 0:13:37.479
<v Speaker 1>There's no exact definition, and it's all a bit subjective.

0:13:37.640 --> 0:13:41.439
<v Speaker 1>But for example, in Western tradition, this combination of notes

0:13:41.600 --> 0:13:57.800
<v Speaker 1>is considered consonant, whereas this combination is considered dissonant. Now

0:13:57.840 --> 0:14:08.120
<v Speaker 1>here's an example of consonant music. The scientists played the pigs.

0:14:10.200 --> 0:14:22.200
<v Speaker 1>Here's an example of the dissonant music they played. And

0:14:22.280 --> 0:14:24.560
<v Speaker 1>at the same time, while of the music was playing,

0:14:24.800 --> 0:14:28.400
<v Speaker 1>doctor Sebaias and her colleagues measured the pig's emotions.

0:14:29.960 --> 0:14:34.720
<v Speaker 2>So we use a specific indicator called qualitative behavior assessment,

0:14:34.920 --> 0:14:37.600
<v Speaker 2>which allows us to assess emotions.

0:14:37.960 --> 0:14:38.760
<v Speaker 1>How does this work.

0:14:39.120 --> 0:14:43.320
<v Speaker 2>This is a broad indicator where you have different terms, right,

0:14:43.680 --> 0:14:49.120
<v Speaker 2>such as for example, comfortable, stress, fearful, and there are

0:14:49.280 --> 0:14:53.560
<v Speaker 2>around twenty terms. Then you have a visual and analogical scale.

0:14:53.680 --> 0:14:57.520
<v Speaker 2>You observe the animal independent on how the animal interacts

0:14:57.520 --> 0:15:01.800
<v Speaker 2>with the environment, and you will give in that analogical scale. Okay,

0:15:01.840 --> 0:15:06.440
<v Speaker 2>I think this animal is happy, it's playful, it's comfortable,

0:15:06.560 --> 0:15:09.000
<v Speaker 2>or noise is stress, is fearful or things like that.

0:15:09.200 --> 0:15:12.000
<v Speaker 1>I see. This is a person with a paper observing

0:15:12.040 --> 0:15:16.480
<v Speaker 1>the animal and then rating all of these different adjectives correct.

0:15:16.080 --> 0:15:19.880
<v Speaker 2>And that allows us to identify how is the emotion

0:15:20.000 --> 0:15:22.400
<v Speaker 2>of the animal in terms of that specific situation.

0:15:23.120 --> 0:15:25.960
<v Speaker 1>All right, here's the experiment. There's two parts. In the first,

0:15:26.000 --> 0:15:29.440
<v Speaker 1>the scientists played music with different characteristics to a group

0:15:29.480 --> 0:15:32.680
<v Speaker 1>of pigs and observed how the pigs reacted based on

0:15:32.720 --> 0:15:34.240
<v Speaker 1>a scale of emotions.

0:15:35.400 --> 0:15:41.200
<v Speaker 2>From there, we identified, for example, that pigs they negatively react.

0:15:40.840 --> 0:15:42.240
<v Speaker 1>To this music.

0:15:42.440 --> 0:15:44.760
<v Speaker 2>If you put this on a music that will generate fear,

0:15:45.120 --> 0:15:48.760
<v Speaker 2>they will generate the stress, but consonant music will generate

0:15:48.960 --> 0:15:52.480
<v Speaker 2>like positive emotions such as play such as happy.

0:15:53.720 --> 0:15:56.920
<v Speaker 1>So, yeah, if you found the consonant notes in music

0:15:56.960 --> 0:16:01.240
<v Speaker 1>I played for you pleasant and the dissonant music notes unpleasant,

0:16:01.680 --> 0:16:04.240
<v Speaker 1>so the pigs they have the same reaction to the

0:16:04.320 --> 0:16:07.560
<v Speaker 1>music you and I have, okay. And then the second

0:16:07.560 --> 0:16:10.040
<v Speaker 1>part of the experiment they use the music pigs like

0:16:10.240 --> 0:16:13.360
<v Speaker 1>the consonant music as a form of therapy.

0:16:14.560 --> 0:16:17.600
<v Speaker 2>And then the next step was using that music that

0:16:17.680 --> 0:16:21.400
<v Speaker 2>we identified like that is spectro te characteristic music that

0:16:21.440 --> 0:16:25.280
<v Speaker 2>we identified that actually they were reacting better. It was

0:16:25.360 --> 0:16:28.440
<v Speaker 2>compared with pigs that did not receive any stimulus.

0:16:28.960 --> 0:16:31.680
<v Speaker 1>Here, the pigs were split into two groups. For one

0:16:31.680 --> 0:16:34.840
<v Speaker 1>group of pigs, the scientists would play the consonant music

0:16:35.160 --> 0:16:38.400
<v Speaker 1>at different times during the day, and for the other group,

0:16:38.520 --> 0:16:41.160
<v Speaker 1>they wouldn't play them any music at all. And then

0:16:41.160 --> 0:16:44.760
<v Speaker 1>they measured two things, how the pigs behaved and also

0:16:45.000 --> 0:16:48.640
<v Speaker 1>their levels of cortsol, which is a stress hormone.

0:16:50.280 --> 0:16:54.440
<v Speaker 2>Wholly unidentified that for example, pigs that received the music,

0:16:54.680 --> 0:16:57.480
<v Speaker 2>they would cope better with the environment in terms of

0:16:57.560 --> 0:17:02.280
<v Speaker 2>she evaliated behavioral characteristics and also physiological characteristics. Right, so

0:17:02.400 --> 0:17:07.080
<v Speaker 2>those big lids that received the environmental enrichment. Physiologically, they

0:17:07.240 --> 0:17:10.280
<v Speaker 2>had a better pattern. They are less.

0:17:10.119 --> 0:17:14.880
<v Speaker 1>Stress okay, somehow Okay, So to recap the found, picks

0:17:14.920 --> 0:17:18.600
<v Speaker 1>seem to have an emotional reaction to different kinds of music,

0:17:18.880 --> 0:17:20.920
<v Speaker 1>and that plain for them, the music that made them

0:17:21.040 --> 0:17:28.399
<v Speaker 1>exhibit more positive emotions lowered their stress level. Okay, So

0:17:28.440 --> 0:17:31.800
<v Speaker 1>then your study and other studies have shown that animals

0:17:31.880 --> 0:17:34.880
<v Speaker 1>have an emotional response to music. Is that true?

0:17:35.200 --> 0:17:39.800
<v Speaker 2>Well, so we speak about emotions, right. Other studies have

0:17:40.160 --> 0:17:45.800
<v Speaker 2>mostly focused on other indicators such as behavior or they

0:17:45.880 --> 0:17:50.520
<v Speaker 2>have physiological indicators that demonstrates that they are coping better.

0:17:50.720 --> 0:17:55.240
<v Speaker 2>But specific studies speaking about these generates emotions. We still

0:17:55.320 --> 0:17:58.840
<v Speaker 2>need to work and continue and trying to find emotions

0:17:58.920 --> 0:18:03.080
<v Speaker 2>to identify to evaluid emotions. It's difficult, right, Animals won't

0:18:03.119 --> 0:18:04.640
<v Speaker 2>tell you, oh, I feel good.

0:18:04.680 --> 0:18:07.480
<v Speaker 1>Right right? Well, what do you think was happening then

0:18:07.760 --> 0:18:11.160
<v Speaker 1>in the pig's brain when you played the music that

0:18:11.200 --> 0:18:13.199
<v Speaker 1>they seem to respond better to.

0:18:13.680 --> 0:18:17.120
<v Speaker 2>So, pigs they are extremely similar to humans, right, They

0:18:17.240 --> 0:18:20.800
<v Speaker 2>work physiologically, very very similar to us. So they have

0:18:20.960 --> 0:18:24.960
<v Speaker 2>all these structures in the brain that allows them to

0:18:25.200 --> 0:18:29.840
<v Speaker 2>process that sense, all the stimus so they will hear it,

0:18:30.000 --> 0:18:32.760
<v Speaker 2>it will enter, it will be processed in the year,

0:18:33.040 --> 0:18:35.840
<v Speaker 2>and then it will go through the ipotala mus and

0:18:36.000 --> 0:18:39.760
<v Speaker 2>it will go through the tiling cephalo. I would assume

0:18:39.840 --> 0:18:43.000
<v Speaker 2>that the process of the music would be pretty similar

0:18:43.080 --> 0:18:45.280
<v Speaker 2>to the process of music we have in humans, but

0:18:45.560 --> 0:18:46.800
<v Speaker 2>we don't know right there.

0:18:46.760 --> 0:18:50.040
<v Speaker 1>Is a lack of studies on that. This princess to

0:18:50.119 --> 0:18:53.200
<v Speaker 1>the main question of the episode. What's going on in

0:18:53.320 --> 0:18:57.400
<v Speaker 1>the animals' brain when it hears music? Can they actually

0:18:57.760 --> 0:19:00.560
<v Speaker 1>appreciate it? To find out, we're going to talk to

0:19:00.600 --> 0:19:04.240
<v Speaker 1>a neuroscientists studies the brains of animals to figure out

0:19:04.320 --> 0:19:08.400
<v Speaker 1>if they have something called musicality. Stay with us, you're

0:19:08.440 --> 0:19:22.080
<v Speaker 1>listening to science stuff. Welcome back. We're answering the question

0:19:22.440 --> 0:19:25.520
<v Speaker 1>can animals appreciate music? And here we get to the

0:19:25.600 --> 0:19:28.119
<v Speaker 1>heart of the matter, or should I say the brain

0:19:28.440 --> 0:19:31.080
<v Speaker 1>of the matter. In the last two segments, we confirm

0:19:31.119 --> 0:19:33.680
<v Speaker 1>that animals react to music and that they seem to

0:19:33.720 --> 0:19:37.479
<v Speaker 1>have an emotional response to different kinds of music. Now

0:19:37.520 --> 0:19:40.680
<v Speaker 1>we'll get to the question do they really appreciate music?

0:19:41.160 --> 0:19:44.280
<v Speaker 1>To answer that, I talk to a cognitive neuroscientist who's

0:19:44.320 --> 0:19:50.359
<v Speaker 1>been studying the musicality of animals. Well, thank you doctor

0:19:50.400 --> 0:19:51.800
<v Speaker 1>Raviani for joining us.

0:19:52.200 --> 0:19:54.840
<v Speaker 3>Thank you very much for having me. Can you please

0:19:54.880 --> 0:19:56.680
<v Speaker 3>tell us who you are and what do you do. Yes,

0:19:56.800 --> 0:20:00.159
<v Speaker 3>my name is Andre Ravignani. I am a researcher and

0:20:00.440 --> 0:20:04.040
<v Speaker 3>a professor at the Department of Human Neurosciences at Sapienza

0:20:04.160 --> 0:20:07.280
<v Speaker 3>University of Roman and also honorary professor at the Center

0:20:07.359 --> 0:20:10.160
<v Speaker 3>for Music in the Brain in Als in Denmark, which

0:20:10.240 --> 0:20:12.000
<v Speaker 3>is probably one of the few places in the world

0:20:12.040 --> 0:20:14.720
<v Speaker 3>where the study of neuroscience and music are combined.

0:20:14.880 --> 0:20:17.560
<v Speaker 1>So can you explain to us what is biomusicology.

0:20:17.760 --> 0:20:21.200
<v Speaker 3>It's a term that has been used a lot in

0:20:21.480 --> 0:20:25.600
<v Speaker 3>recent years to denote a biological approach to music, or

0:20:25.760 --> 0:20:28.960
<v Speaker 3>better a biological approach to musicality. And this is a

0:20:29.080 --> 0:20:32.159
<v Speaker 3>very important distinction. To make music is the you know,

0:20:32.280 --> 0:20:36.320
<v Speaker 3>the cultural artifact, the object of study of many fields

0:20:36.359 --> 0:20:39.920
<v Speaker 3>of humanities and arts. While musicality is defined as the

0:20:40.160 --> 0:20:44.679
<v Speaker 3>set of skills that allows us to produce, perceive music,

0:20:44.760 --> 0:20:46.560
<v Speaker 3>to move in time to music, and so on and

0:20:46.720 --> 0:20:51.000
<v Speaker 3>so forth. Musicality is more the set of psychological, cognitive,

0:20:51.320 --> 0:20:54.960
<v Speaker 3>biological building blocks that makes us musical animals.

0:20:55.119 --> 0:20:59.160
<v Speaker 1>And so you do this by comparing humans and animals exactly.

0:20:59.440 --> 0:21:03.760
<v Speaker 3>Our general approaches not to play Mozart to teenagers and

0:21:03.880 --> 0:21:06.440
<v Speaker 3>to cows and to see what effect it has on

0:21:06.560 --> 0:21:10.119
<v Speaker 3>their behavior. Our approach is to distill the building blocks

0:21:10.119 --> 0:21:10.920
<v Speaker 3>of musicality.

0:21:12.400 --> 0:21:16.760
<v Speaker 1>Doctor Ravinani studies the musicality of animals, which is basically

0:21:16.920 --> 0:21:20.440
<v Speaker 1>the ability to understand music, and these published papers about

0:21:20.480 --> 0:21:27.040
<v Speaker 1>disability and seals, chimpanzees, squirrel, monkeys, penguins, whales, dogs, dolphins,

0:21:27.280 --> 0:21:32.720
<v Speaker 1>rangutans and other animals. Now, according to doctor Ravinani, musicality

0:21:32.920 --> 0:21:35.600
<v Speaker 1>can be broken down into a set of skills that

0:21:35.840 --> 0:21:39.240
<v Speaker 1>some animals seem to have and others don't.

0:21:41.160 --> 0:21:43.960
<v Speaker 3>So, for instance, one of those is bit perceptions. For instance,

0:21:44.000 --> 0:21:45.760
<v Speaker 3>when we go to a club and we dance and

0:21:45.840 --> 0:21:48.800
<v Speaker 3>we're moving time to music, then we recruit these fairly

0:21:48.920 --> 0:21:52.320
<v Speaker 3>complex and neural capacity to moving time and to predict

0:21:52.320 --> 0:21:55.760
<v Speaker 3>the next bit. Other traits are vocal learning, so learning

0:21:56.040 --> 0:21:58.920
<v Speaker 3>sounds that do not belong to your natural repertoire learning

0:21:59.000 --> 0:22:01.840
<v Speaker 3>sounds that are not innate. You can think about absolute

0:22:01.880 --> 0:22:05.119
<v Speaker 3>and relative pitch. So imagine I play happy Birthday to you,

0:22:05.359 --> 0:22:08.200
<v Speaker 3>or imagine yeah, all the human beings singing happy birthday

0:22:08.240 --> 0:22:10.680
<v Speaker 3>to you, They're not always starting from the same note.

0:22:11.000 --> 0:22:13.600
<v Speaker 3>So I start from a sea and you start from

0:22:13.640 --> 0:22:16.639
<v Speaker 3>a C sharp. It's just the same melody, but presposed

0:22:16.680 --> 0:22:19.840
<v Speaker 3>of a semi tone, and to us it sounds exactly

0:22:19.920 --> 0:22:23.600
<v Speaker 3>the same unless you have absolute pitch. One related to

0:22:23.680 --> 0:22:27.480
<v Speaker 3>rhythm is meter perception. Another one is percussive behavior, and

0:22:27.520 --> 0:22:28.320
<v Speaker 3>there are many more.

0:22:28.480 --> 0:22:32.879
<v Speaker 1>Right according to doctor Ravinyanni, there's a list of skills that,

0:22:33.160 --> 0:22:37.240
<v Speaker 1>put together, add up to an ability to perceive, understand,

0:22:37.720 --> 0:22:41.560
<v Speaker 1>and make music, in other words, to appreciate music. So

0:22:41.680 --> 0:22:45.480
<v Speaker 1>now the question is do animals have these skills. We'll

0:22:45.520 --> 0:22:47.320
<v Speaker 1>start with deep perception.

0:22:49.040 --> 0:22:52.880
<v Speaker 3>Big perception is a very complex ability underlying our musicality,

0:22:52.960 --> 0:22:55.280
<v Speaker 3>and if we think about it for seconds, to us,

0:22:55.359 --> 0:22:58.920
<v Speaker 3>it seems natural to moving time to music. However, neurally

0:22:59.119 --> 0:23:03.240
<v Speaker 3>and psychologically, the process of bait perception is extremely complex

0:23:03.280 --> 0:23:06.840
<v Speaker 3>because music is not a metrino. It's a complex stream

0:23:06.920 --> 0:23:09.760
<v Speaker 3>of sounds. So the first thing that our brain needs

0:23:09.800 --> 0:23:12.879
<v Speaker 3>to do is to extract a recurring beat. So basically

0:23:13.000 --> 0:23:16.720
<v Speaker 3>we impose our expectations when is the next beat gonna come?

0:23:18.440 --> 0:23:22.120
<v Speaker 1>So recognizing a beat is not that simple, but from

0:23:22.200 --> 0:23:25.920
<v Speaker 1>studies of human brains. Scientists knew that beat perception was

0:23:26.040 --> 0:23:30.560
<v Speaker 1>related to talking or vocalizing because they share some of

0:23:30.600 --> 0:23:33.879
<v Speaker 1>the same brain areas, and sure enough, one of the

0:23:33.960 --> 0:23:37.720
<v Speaker 1>first animals beat perception was found in where parrots.

0:23:40.160 --> 0:23:43.680
<v Speaker 3>A study on a dancing parrot snowballed the cockatool showed

0:23:43.720 --> 0:23:45.760
<v Speaker 3>that actually, yeah, we have a second data point. So

0:23:46.119 --> 0:23:49.199
<v Speaker 3>the parrot was dancing in timed music and then speeding

0:23:49.280 --> 0:23:51.880
<v Speaker 3>up or slowing down depending on the bpm of the song,

0:23:51.960 --> 0:23:52.760
<v Speaker 3>and so on and so forth.

0:23:54.119 --> 0:23:57.639
<v Speaker 1>So parrots can keep a beat, and apparently sil can

0:23:57.760 --> 0:24:02.480
<v Speaker 1>sea lions and seals. Twenty thirteen, Ronan, the sea lion,

0:24:02.760 --> 0:24:06.680
<v Speaker 1>became famous as the only non human mammal known that

0:24:06.800 --> 0:24:10.000
<v Speaker 1>could keep a beat. Scientists started training Ronan when the

0:24:10.160 --> 0:24:13.240
<v Speaker 1>animal was only three years old to bob its head

0:24:13.440 --> 0:24:16.800
<v Speaker 1>to a beat, and just this year, the scientists showed

0:24:16.840 --> 0:24:20.040
<v Speaker 1>that Ronan could keep a beat as well or better

0:24:20.560 --> 0:24:24.199
<v Speaker 1>than humans. This is also something that doctor Gravignani has

0:24:24.200 --> 0:24:25.680
<v Speaker 1>studied with seals.

0:24:28.240 --> 0:24:32.160
<v Speaker 3>We did so called playback experiments where we broadcasted rhythmic

0:24:32.280 --> 0:24:36.639
<v Speaker 3>sounds of other seals to specific individual seals, and we

0:24:36.800 --> 0:24:39.480
<v Speaker 3>saw when they responded to the coal. So did they

0:24:39.560 --> 0:24:42.680
<v Speaker 3>respond to the sound in time with it, in synchrony

0:24:42.760 --> 0:24:45.320
<v Speaker 3>with it, and we found that in the harbor seals

0:24:45.359 --> 0:24:48.320
<v Speaker 3>they synchronized with the delay but very regularly, and they

0:24:48.400 --> 0:24:51.399
<v Speaker 3>adapt the bpm depending on the bpm of.

0:24:51.480 --> 0:24:53.560
<v Speaker 1>The sound, meaning they can tense the beat.

0:24:53.920 --> 0:24:56.040
<v Speaker 3>We need to do more research before we can say

0:24:56.080 --> 0:24:58.399
<v Speaker 3>that harbor seals can sense the beat, but definitely they

0:24:58.480 --> 0:25:00.240
<v Speaker 3>have some capacities to synchroniz eyes.

0:25:01.080 --> 0:25:05.640
<v Speaker 1>Another musicality skill that's been found in animals is perfect pitch.

0:25:07.040 --> 0:25:09.920
<v Speaker 3>That has been tested in quite a few bird species.

0:25:10.280 --> 0:25:13.400
<v Speaker 3>Birds so that they're very good at picking individual sounds,

0:25:13.400 --> 0:25:15.879
<v Speaker 3>so they have absolute pitch, something that is very rare

0:25:15.920 --> 0:25:18.439
<v Speaker 3>in humans, so they can recognize, okay, this is four

0:25:18.520 --> 0:25:21.720
<v Speaker 3>hundred herds, this is for fifty, for twenty, even without

0:25:21.760 --> 0:25:23.000
<v Speaker 3>being given a reference pitch.

0:25:23.320 --> 0:25:26.800
<v Speaker 1>And another skill is the ability to tell half notes

0:25:27.119 --> 0:25:28.399
<v Speaker 1>from quarter notes.

0:25:30.040 --> 0:25:33.600
<v Speaker 3>There is this integer ratio, a feature where you know,

0:25:33.680 --> 0:25:36.879
<v Speaker 3>if you think about we will rock you stompstonm clup,

0:25:37.160 --> 0:25:39.800
<v Speaker 3>stomp storm clup, so you have one unit of time

0:25:40.000 --> 0:25:42.280
<v Speaker 3>going from the first step to the second stone, and

0:25:42.400 --> 0:25:44.840
<v Speaker 3>then from the club to the next stomp. It's exactly

0:25:44.920 --> 0:25:48.480
<v Speaker 3>two units of time. And this produces some so called integeration.

0:25:48.680 --> 0:25:52.720
<v Speaker 3>This integer ratio we found in the injury lemurs of Madagascar.

0:25:52.800 --> 0:25:54.760
<v Speaker 3>So my colleagues at the University of Turin have been

0:25:55.000 --> 0:25:59.680
<v Speaker 3>recording their spontaneous vocalizations of these limours for about twenty years,

0:26:00.080 --> 0:26:03.440
<v Speaker 3>and based on this very large chorpus of limour songs,

0:26:03.680 --> 0:26:05.920
<v Speaker 3>we have seen that that's the first case of a

0:26:06.000 --> 0:26:09.640
<v Speaker 3>mammal that they are not humans that can produce this, meaning.

0:26:09.520 --> 0:26:12.600
<v Speaker 1>That they use the quarter note and the half note.

0:26:12.920 --> 0:26:15.399
<v Speaker 1>Is that kind of what you mean? Yeah, exactly, So

0:26:15.680 --> 0:26:19.640
<v Speaker 1>lemurs can keep track of half and quarter notes. Finally,

0:26:19.840 --> 0:26:24.760
<v Speaker 1>another skilled musicality, singing together, has also been found in animals.

0:26:26.160 --> 0:26:29.040
<v Speaker 3>Another interesting building blocks of music is the capacity for

0:26:29.240 --> 0:26:33.040
<v Speaker 3>vocal joint action or for vocal coordination. So gibbondes are apes.

0:26:33.400 --> 0:26:36.080
<v Speaker 3>They're the one apes the farthest away from us, but

0:26:36.160 --> 0:26:38.440
<v Speaker 3>they are still apes. They're not monkeys. And they sing

0:26:38.520 --> 0:26:40.880
<v Speaker 3>in duets. Right, So a male and a female will

0:26:40.920 --> 0:26:42.960
<v Speaker 3>pay a bond for a long while and they sing

0:26:43.080 --> 0:26:45.919
<v Speaker 3>to each other in a duet where some notes overlap

0:26:46.200 --> 0:26:48.399
<v Speaker 3>and some don't. And what we have seen is they

0:26:48.520 --> 0:26:52.399
<v Speaker 3>coordinate their song. Sometimes males do solos, sometimes males singing

0:26:52.520 --> 0:26:55.639
<v Speaker 3>a duet and if we compare the rhythm of their

0:26:55.720 --> 0:26:57.960
<v Speaker 3>song in a solo or in a duet, we see

0:26:57.960 --> 0:27:00.760
<v Speaker 3>a star difference between the two. So we see that

0:27:00.960 --> 0:27:04.239
<v Speaker 3>when the male sings in a duet, his notes are

0:27:04.520 --> 0:27:08.000
<v Speaker 3>much more adjusted and predictable to coordinate with the female.

0:27:08.160 --> 0:27:10.639
<v Speaker 3>This kind of vocal coordination that we deploy when we

0:27:10.720 --> 0:27:12.840
<v Speaker 3>sing in a choir or in many other contexts.

0:27:12.920 --> 0:27:16.560
<v Speaker 1>It's the ability to listen and then adapt your own

0:27:16.920 --> 0:27:17.600
<v Speaker 1>music production.

0:27:17.960 --> 0:27:19.479
<v Speaker 3>Yeah, your own vocal production.

0:27:19.600 --> 0:27:22.080
<v Speaker 1>Interesting. So we've seen that in the animal kingdom.

0:27:22.000 --> 0:27:25.119
<v Speaker 3>Indeed very often in singing privates and also in birds.

0:27:26.880 --> 0:27:30.920
<v Speaker 1>Now there are musicality skills that haven't been found in animals.

0:27:31.080 --> 0:27:34.080
<v Speaker 1>For example, the ability to recognize a melody even if

0:27:34.080 --> 0:27:36.720
<v Speaker 1>you play it on a different scale. That's called led

0:27:36.880 --> 0:27:41.520
<v Speaker 1>transposition or meter, which is recognizing patterns or groupings and

0:27:41.680 --> 0:27:46.080
<v Speaker 1>beats haven't been seen in any animal. But doctor Ramniani

0:27:46.160 --> 0:27:49.000
<v Speaker 1>argies that doesn't mean animals can't do it. It just

0:27:49.119 --> 0:27:51.119
<v Speaker 1>means we need to keep looking.

0:27:52.840 --> 0:27:56.040
<v Speaker 3>They take on messages that for every musicality trade. Every

0:27:56.119 --> 0:27:59.520
<v Speaker 3>time someone says, I reckon that this musicality building block

0:27:59.600 --> 0:28:02.880
<v Speaker 3>is unique human, then a few years later someone finds

0:28:02.960 --> 0:28:05.399
<v Speaker 3>a species that also has that traite, right, So it

0:28:05.640 --> 0:28:07.920
<v Speaker 3>particularly goes like that. So I think the take on

0:28:08.080 --> 0:28:11.080
<v Speaker 3>message of all these research until now is that even

0:28:11.160 --> 0:28:14.320
<v Speaker 3>though the full package of these musicality traits might be

0:28:14.440 --> 0:28:17.320
<v Speaker 3>uniquely human, for each trait we can find at least

0:28:17.320 --> 0:28:19.600
<v Speaker 3>another animal species that has it, so we are not

0:28:19.720 --> 0:28:20.720
<v Speaker 3>so unique after all.

0:28:22.800 --> 0:28:26.440
<v Speaker 1>All right, So the components of understanding and appreciating music

0:28:26.760 --> 0:28:30.480
<v Speaker 1>have been found in different animals, but to date humans

0:28:30.480 --> 0:28:33.400
<v Speaker 1>seem to be the only species with all the skills.

0:28:33.880 --> 0:28:38.280
<v Speaker 1>Now what does that mean for our main question? So

0:28:38.440 --> 0:28:41.280
<v Speaker 1>if someone were to ask you, do you think animals

0:28:41.360 --> 0:28:44.200
<v Speaker 1>can appreciate music? How would you answer that question?

0:28:44.600 --> 0:28:46.800
<v Speaker 3>I think the short answer to that that we really

0:28:46.880 --> 0:28:49.120
<v Speaker 3>do not know. I think that the first question to

0:28:49.200 --> 0:28:52.280
<v Speaker 3>ask is do they even care about it? So carrying

0:28:52.360 --> 0:28:56.560
<v Speaker 3>and appreciating music is a bit of an anthropocentric perspective

0:28:56.600 --> 0:28:59.400
<v Speaker 3>in a way, because for us it's such an important thing.

0:28:59.800 --> 0:29:02.240
<v Speaker 3>And then on top of that, music is the human

0:29:02.320 --> 0:29:06.480
<v Speaker 3>cultural artifact. Right would you enjoy listening for hours of

0:29:06.960 --> 0:29:12.120
<v Speaker 3>dolphin whistles or chimpanzee drumming? There are animal signals, animal sounds,

0:29:12.280 --> 0:29:13.720
<v Speaker 3>communicative sounds.

0:29:13.520 --> 0:29:15.880
<v Speaker 1>But it sounds like we have found some musicality in

0:29:15.960 --> 0:29:18.520
<v Speaker 1>some species. It is the question, then, can you connect

0:29:18.560 --> 0:29:22.360
<v Speaker 1>that musicality to feelings for some sort of reaction.

0:29:22.920 --> 0:29:26.040
<v Speaker 3>Yes, potentially some music sounds and no music sounds can

0:29:26.120 --> 0:29:29.560
<v Speaker 3>have some emotional value for different species. But this has

0:29:29.640 --> 0:29:32.720
<v Speaker 3>to do with more basic sound perception rather than music

0:29:32.800 --> 0:29:33.160
<v Speaker 3>per se.

0:29:33.480 --> 0:29:35.840
<v Speaker 1>I see. So the answer might be that they might

0:29:35.920 --> 0:29:39.240
<v Speaker 1>be able to appreciate music, but probably not human music.

0:29:39.360 --> 0:29:42.680
<v Speaker 3>Yeah, potentially species specific music. Actually, some colleagues in the

0:29:42.800 --> 0:29:45.960
<v Speaker 3>US have been working towards trying to understand whether we

0:29:46.000 --> 0:29:49.360
<v Speaker 3>can make species specific music. So there are even albums

0:29:49.400 --> 0:29:52.760
<v Speaker 3>out there on iTunes of cat music, and the peer

0:29:52.760 --> 0:29:55.600
<v Speaker 3>reviewed studies where they showed that you know, this cat

0:29:55.680 --> 0:29:59.720
<v Speaker 3>specific music played by a cello in used relaxation in cats,

0:29:59.840 --> 0:30:00.720
<v Speaker 3>and so on and so forth.

0:30:00.880 --> 0:30:03.800
<v Speaker 1>Okay, last question. The first part of this episode, I

0:30:04.160 --> 0:30:06.600
<v Speaker 1>told the musician who plays music for animals, I was

0:30:06.640 --> 0:30:08.360
<v Speaker 1>going to try it, and I'm terrible and I don't

0:30:08.360 --> 0:30:10.040
<v Speaker 1>think very well, but I'm gonna try to sing to

0:30:10.200 --> 0:30:12.600
<v Speaker 1>some animals, maybe a dog or a cat. How do

0:30:12.640 --> 0:30:14.280
<v Speaker 1>you think that dog or cat is going to react?

0:30:14.520 --> 0:30:16.840
<v Speaker 3>So, first of all, it depends on the species. So

0:30:17.200 --> 0:30:19.959
<v Speaker 3>a cat and a dog have already a very different

0:30:20.160 --> 0:30:23.360
<v Speaker 3>perceptual and cognitive world one from one another. Right, How

0:30:23.400 --> 0:30:25.040
<v Speaker 3>they see the world and how they feel the world

0:30:25.080 --> 0:30:28.280
<v Speaker 3>as we know is very different, right, even between breeds

0:30:28.320 --> 0:30:30.720
<v Speaker 3>of dogs. And then it also depends a lot on

0:30:30.840 --> 0:30:33.800
<v Speaker 3>the experiences that that cat or dog has done during

0:30:33.880 --> 0:30:37.360
<v Speaker 3>their life. Right, so you know, imagine that the dog

0:30:37.520 --> 0:30:39.120
<v Speaker 3>was raised by an owner.

0:30:39.200 --> 0:30:41.680
<v Speaker 4>That we always think we don't really high pitch to

0:30:41.840 --> 0:30:45.720
<v Speaker 4>convey that, come on here, cuties, Or imagine that the

0:30:45.800 --> 0:30:50.080
<v Speaker 4>dog was mistreated by someone with a very deep noise

0:30:50.280 --> 0:30:52.160
<v Speaker 4>like that, And then if you hit some.

0:30:52.280 --> 0:30:54.080
<v Speaker 3>Low notes, the dog is not going to have a

0:30:54.200 --> 0:30:57.480
<v Speaker 3>very good reaction, right, And then who knows? Again, I

0:30:57.560 --> 0:31:01.480
<v Speaker 3>don't explve the fact that many animals might be enjoying music,

0:31:01.720 --> 0:31:04.040
<v Speaker 3>our own music, their own music, but we still don't

0:31:04.080 --> 0:31:06.960
<v Speaker 3>know enough I see, Right, So if you pay music

0:31:07.000 --> 0:31:09.760
<v Speaker 3>to a catera dog, they either won't care or they

0:31:09.800 --> 0:31:13.080
<v Speaker 3>will react based on what those sounds have been associated

0:31:13.200 --> 0:31:15.360
<v Speaker 3>with in the past. And don't get me wrong, and

0:31:15.480 --> 0:31:18.320
<v Speaker 3>not belittling animals, I love animals. What I'm saying is

0:31:18.400 --> 0:31:21.960
<v Speaker 3>that their cognitive and perceptual world is very complex and

0:31:22.080 --> 0:31:25.280
<v Speaker 3>nuance like our own, and so the music that you're

0:31:25.320 --> 0:31:27.320
<v Speaker 3>going to play or sing is the result of a

0:31:27.400 --> 0:31:31.080
<v Speaker 3>bunch of cultural accumulation, and that probably not all the

0:31:31.200 --> 0:31:33.840
<v Speaker 3>nuances we see in them are gonna speak to them,

0:31:33.880 --> 0:31:34.600
<v Speaker 3>and vice versa.

0:31:35.560 --> 0:31:38.600
<v Speaker 1>All right, So to recap the whole episode, animals seem

0:31:38.680 --> 0:31:41.200
<v Speaker 1>to react to music. They can have what seems like

0:31:41.280 --> 0:31:44.520
<v Speaker 1>an emotional response to it. For example, you can play

0:31:44.640 --> 0:31:48.280
<v Speaker 1>music that lowers their stress level. And many species seem

0:31:48.320 --> 0:31:51.920
<v Speaker 1>to have the brain circuits to do single musical tasks

0:31:52.320 --> 0:31:56.120
<v Speaker 1>like keep a beat or tell notes apart or sing together.

0:31:56.840 --> 0:32:00.520
<v Speaker 1>But whether they can appreciate music might depend whether they

0:32:00.560 --> 0:32:02.760
<v Speaker 1>can even hear the sounds in that music and what

0:32:02.880 --> 0:32:06.320
<v Speaker 1>their life experience has been with those sounds. It's just

0:32:06.440 --> 0:32:10.040
<v Speaker 1>like how we don't necessarily appreciate a bird song, or

0:32:10.080 --> 0:32:15.320
<v Speaker 1>how some of us don't like heavy metal or country

0:32:15.400 --> 0:32:26.040
<v Speaker 1>music or music from another culture. All right, I'll leave

0:32:26.040 --> 0:32:28.760
<v Speaker 1>you with the image a man with a guitar in

0:32:28.840 --> 0:32:32.800
<v Speaker 1>a field playing music to an eight foot tall bird.

0:32:33.360 --> 0:32:37.040
<v Speaker 1>Here's Plumes singing a song. Hey road to an Ostrich.

0:32:38.280 --> 0:32:58.239
<v Speaker 1>Thanks for joining us, See you next time you've been

0:32:58.280 --> 0:33:03.080
<v Speaker 1>listening to science Stuffduction of iHeartRadio Bringing the produced by

0:33:03.120 --> 0:33:07.280
<v Speaker 1>me or hitch Ham prendedate by Rose Seguda, executive producer

0:33:07.400 --> 0:33:10.920
<v Speaker 1>Jerry Rowland, and audio engineer and mixer Kasey Pecrom. You

0:33:10.960 --> 0:33:13.720
<v Speaker 1>can follow me on social media. Just search for PhD

0:33:13.920 --> 0:33:16.600
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0:33:16.680 --> 0:33:20.040
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0:33:20.160 --> 0:33:23.400
<v Speaker 1>or wherever you get your podcasts, and please tell your friends.

0:33:23.760 --> 0:33:29.240
<v Speaker 1>We'll be back next Wednesday with another episode. All right, today,

0:33:29.240 --> 0:33:34.480
<v Speaker 1>I'm singing for Chloe the Dog and Mango the Cat. Chloe,

0:33:34.960 --> 0:33:41.680
<v Speaker 1>you Mango, Here we go. It had to be. It

0:33:42.320 --> 0:33:54.720
<v Speaker 1>had to be. I wandered averund fine, elly fan soundbody

0:33:54.840 --> 0:34:00.960
<v Speaker 1>who's yeah? I don't think they care. You don't seem

0:34:00.960 --> 0:34:04.920
<v Speaker 1>that impressed. What are the animals doing?

0:34:04.960 --> 0:34:06.200
<v Speaker 2>What was the Mango?

0:34:06.280 --> 0:34:08.440
<v Speaker 1>The cat went behind you and we started just kind

0:34:08.440 --> 0:34:12.320
<v Speaker 1>of like laying out and stretching out, and so I

0:34:12.400 --> 0:34:13.680
<v Speaker 1>think he was definitely listening.

0:34:13.760 --> 0:34:16.800
<v Speaker 3>For sure, he comes and listens when I played the guitar.

0:34:16.920 --> 0:34:18.360
<v Speaker 3>She won't really hang out with me in here, but

0:34:18.440 --> 0:34:19.239
<v Speaker 3>he will all come and.

0:34:19.239 --> 0:34:21.320
<v Speaker 2>Play the guitar and he'll sit on the couch or

0:34:21.400 --> 0:34:22.800
<v Speaker 2>he'll just lay on the carpet next to me

0:34:22.840 --> 0:34:25.440
<v Speaker 1>And he'll just hang out so he does that her

0:34:25.560 --> 0:34:27.200
<v Speaker 1>not so much, but he definitely does