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Ornithology (from Greek: ὄρνις, ὄρνιθος, ornis, ornithos, "bird"; and λόγος, logos, "rationale" or "explanation") is a branch of zoology that concerns the study of birds. Several aspects of ornithology differ from related disciplines, due partly to the high visibility and the aesthetic appeal of birds.^[1] Most marked among these is the extent of studies undertaken by amateurs working within the parameters of strict scientific methodology.

The science of ornithology has a long history and studies on birds have helped develop several key concepts in evolution, behaviour and ecology such as the definition of species, the process of speciation, instinct, learning, ecological niches, guilds, island biogeography, phylogeography and conservation.^[2] While early ornithology was principally concerned with descriptions and distributions of species, ornithologists today seek answers to very specific questions, often using birds as models to test hypotheses or predictions based on theories. Most modern biological theories apply across taxonomic groups and the number of professional scientists who identify themselves as "ornithologists" has therefore declined.^[3] A wide range of tools and techniques are used in ornithology, both inside the laboratory and out in the field, and innovations are constantly made.^[4]

History[link]

The history of ornithology largely reflects the trends in the history of biology. Trends include the move from mere descriptions to the identification of patterns and then towards elucidating the processes that produce the patterns.

Early knowledge and study[link]

Belon's comparison of birds and humans in his Book of Birds, 1555

Humans must have observed birds from the earliest times, and stone age drawings are among the oldest indications of an interest in birds.^[5] Birds were perhaps important as a food source, and bones of as many as 80 species have been found in excavations of early Stone Age settlements.^[6][7][8]

Cultures around the world have rich vocabularies related to birds.^[9] Traditional bird names are often based on detailed knowledge of the behaviour, with many names being onomatopoeic, many still in use.^[10] Traditional knowledge may also involve the use of birds in folk medicine^[11] and knowledge of these practices are passed on through oral traditions (see ethno-ornithology).^[12][13] Hunting of wild birds as well as their domestication would have required considerable knowledge of their habits. Poultry farming and falconry were practised from early times in many parts of the world. Artificial incubation of poultry was practised in China around 246 BC and around at least 400 BC in Egypt.^[14] The Egyptians also made use of birds in their hieroglyphic scripts, many of which, though stylized, are still identifiable to species.

Cover of Ulisse Aldrovandi's Ornithology, 1599

Early written records provide valuable information on the past distributions of species. For instance Xenophon records the abundance of the Ostrich in Assyria (Anabasis, i. 5); this subspecies from Asia minor is extinct and all extant Ostrich races are today restricted to Africa. Other old writings such as the Vedas (1500-800 BC) demonstrate the careful observation of avian life histories and includes the earliest reference to the habit of brood parasitism by the Asian Koel (Eudynamys scolopacea).^[15] Like writing, the early art of China, Japan, Persia and India also demonstrate knowledge, with examples of scientifically accurate bird illustrations.^[16]

Aristotle in 350 BC in his Historia Animalium^[17] noted the habit of bird migration, moulting, egg laying and life spans. He however introduced and propagated several myths, such as the idea that swallows hibernated in winter although he noted that cranes migrated from the steppes of Scythia to the marshes at the headwaters of the Nile. The idea of swallow hibernation became so well established that, even as late as in 1878, Elliott Coues could list as many as 182 contemporary publications dealing with the hibernation of swallows and little published evidence to contradict the theory.^[18][19] Similar misconceptions existed regarding the breeding of Barnacle geese. Their nests had not been seen and it was believed that they grew by transformations of goose barnacles, an idea that became prevalent from around the 11th century and noted by Bishop Giraldus Cambrensis (Gerald of Wales) in Topographia Hiberniae (1187).^[20]

The origins of falconry have been traced to Mesopotamia and the earliest record comes from the reign of Sargon II (722–705 BC). Falconry made its entry to Europe only after AD 400, brought in from the East after invasions by the Huns and Allans. Frederick II of Hohenstaufen (1194–1250) learnt about Arabian falconry during wars in the region and obtained an Arabic treatise on falconry by Moamyn. He had this work translated into Latin and also conducted experiments on birds in his menagerie. By sealing the eyes of vultures and placing food nearby, he concluded that they found food by sight, and not by smell. He also developed methods to keep and train falcons. The studies that he undertook over nearly 30 years, were published in 1240 as De Arte Venandi cum Avibus (The Art of Hunting with Birds), considered one of the earliest studies on bird behaviour.^[21]

Several early German and French scholars compiled old works and conducted new research on birds. These included Guillaume Rondelet who described his observations in the Mediterranean and Pierre Belon who described the fish and birds that he had seen in France and the Levant. Belon's Book of Birds (1555) is a folio volume with descriptions of some two hundred species. His comparison of the skeleton of humans and birds is considered as a landmark in comparative anatomy.^[22] Volcher Coiter (1534–1576), a Dutch anatomist made detailed studies of the internal structures of birds and produced a classification of birds, De Diferentiis Avium (around 1572), that was based on structure and habits.^[23] Konrad Gesner wrote the Vogelbuch and Icones avium omnium around 1557. Like Gesner, Ulisse Aldrovandi, an encyclopedic naturalist began a 14-volume natural history with three volumes on birds, entitled ornithologiae hoc est de avibus historiae libri XII which was published from 1599 to 1603. Aldrovandi showed great interest in plants and animals and his work included 3000 drawings of fruits, flowers, plants and animals, published in 363 volumes. His Ornithology alone covers 2000 pages and included such aspects as the chicken and poultry techniques.^[24][25] William Turner's Historia Avium ("History of Birds"), published at Cologne in 1544, was an early ornithological work from England. He noted the commonness of kite in English cities where they snatched food out of the hands of children. He included folk beliefs such as those of anglers. Anglers believed that the Osprey emptied their fishponds and would kill them, mixing the flesh of the Osprey into their fish bait. Turner's work reflected the violent times that he lived in and stands in contrast to later works such as Gilbert White's The Natural History and Antiquities of Selborne that were written in a tranquil era.^[22][26]

Antonio Valli da Todi who wrote on aviculture in 1601 knew the connections between territory and song^[27]

In the 17th century Francis Willughby (1635–1672) and John Ray (1627–1705) came up with the first major system of bird classification that was based on function and morphology rather than on form or behaviour. Willughby's Ornithologiae libri tres (1676) completed by John Ray is sometimes considered to mark the beginning of scientific ornithology. Ray also worked on Ornithologia which was published posthumously in 1713 as Synopsis methodica avium et piscium.^[28] The earliest list of British birds, Pinax Rerum Naturalium Britannicarum was written by Christopher Merrett in 1667, however it was not considered of value by many including John Ray.^[29]

An Experiment on a Bird in the Air Pump, 1768

Towards the late 18th century, Mathurin Jacques Brisson (1723–1806) and Comte de Buffon (1707–1788) began new works on birds. Brisson produced a six-volume work Ornithologie in 1760 and Buffon's included nine volumes (volumes 16-24) on birds Histoire naturelle des oiseaux (1770–1785) in his work on science Histoire naturelle générale et particulière (1749–1804). Coenraad Jacob Temminck (1778–1858) sponsored François Le Vaillant [1753-1824] to collect bird specimens in Africa and this resulted in Le Vaillant's six-volume Histoire naturelle des oiseaux d'Afrique (1796–1808). Louis Jean Pierre Vieillot (1748–1831) spent ten years studying North American birds and wrote the Histoire naturelle des oiseaux de l'Amerique septentrionale (1807-1808?). Vieillot pioneered in the use of life-histories and habits in classification.^[30]

Scientific studies[link]

Early bird study focused on collectibles such as eggs and nests

It was not until the Victorian era—with the emergence of the gun, the concept of natural history, and the collection of natural objects such as bird eggs and skins—that ornithology emerged as a specialized science.^[31][32] This specialization led to the formation in Britain of the British Ornithologists' Union in 1858. In 1859 the members founded its journal The Ibis. The sudden spurt in ornithology was also due in part to colonialism. A hundred years later, in 1959, R. E. Moreau noted that ornithology in this period was preoccupied with the geographical distributions of various species of birds.^[33]

No doubt the preoccupation with widely extended geographical ornithology, was fostered by the immensity of the areas over which British rule or influence stretched during the 19th century and for some time afterwards.

—Moreau^[34]

The bird collectors of the Victorian era observed the variations in bird forms and habits across geographic regions, noting local specialization and variation in widespread species. The collections of museums and private collectors grew with contributions from various parts of the world. The naming of species with binomials and the organization of birds into groups based on their similarities became the main work of museum specialists. The variations in widespread birds across geographical region caused the introduction of trinomial names.

Kaup's classification of the crow family

The search for patterns in the variations of birds was attempted by many. Friedrich Wilhelm Joseph Schelling (1775 – 1854), his student Johann Baptist von Spix (1781-1826) and several others followed the idea that was a hidden and innate mathematical order in the forms of birds. They believed that there was a "natural" classification that was superior to "artificial" ones. A particularly popular idea was the Quinarian system popularised by Nicholas Aylward Vigors (1785 – 1840), William Sharp Macleay (1792 – 1865), William Swainson and others. The idea was that natural followed a "rule of five" with five groups nested hierarchically. Some had attempted a rule of four, but Johann Jakob Kaup (1803 - 1873) insisted that the number five was special noting that other natural entities such as the senses also came in fives. He followed this idea and demonstrated his view of the order within the crow family. Where he failed to find 5 genera, he left a blank insisting that a new genus would found to fill these gaps. These ideas were replaced by more complex "maps" of affinities in works by Hugh Edwin Strickland and Alfred Russell Wallace.^[35][36]

The Galapagos finches were especially influential in the development of Charles Darwin's theory of evolution. His contemporary Alfred Russel Wallace also noted these variations and the geographical separations between different forms leading to the study of biogeography. Wallace was influenced by the work of Philip Lutley Sclater on the distribution patterns of birds.^[37]

Quinarian system of bird classification by Swainson

For Darwin, the problem was how species arose from a common ancestor, but he did not attempt to find rules for delineation of species. The species problem was tackled by the ornithologist Ernst Mayr. Mayr was able to demonstrate that geographical isolation and the accumulation of genetic differences led to the splitting of species.^[38][39]

Early ornithologists were preoccupied with matters of species identification. Only systematics counted as true science and field studies were considered inferior through much of the 19th century.^[40] In 1901 Robert Ridgway wrote in the introduction to The Birds of North and Middle America that:

There are two essentially different kinds of ornithology: systematic or scientific, and popular. The former deals with the structure and classification of birds, their synonymies and technical descriptions. The latter treats of their habits, songs, nesting, and other facts pertaining to their life histories.

This early idea that the study of living birds was merely recreation held sway until ecological theories became the predominant focus of ornithological studies.^[2][33] The study of birds in their habitats was particularly advanced in Germany with bird ringing stations established as early as 1903. By the 1920s the Journal für Ornithologie included many papers on the behaviour, ecology, anatomy and physiology, many written by Erwin Stresemann. Stresemann changed the editorial policy of the journal, leading both to a unification of field and laboratory studies and a shift of research from museums to universities.^[40] Ornithology in the United States continued to be dominated by museum studies of morphological variations, species identities and geographic distributions, until it was influenced by Stresemann's student Ernst Mayr.^[41] In Britain, some of the earliest ornithological works that used the word ecology appeared in 1915.^[42] The Ibis however resisted the introduction of these new methods of study and it was not until 1943 that any paper on ecology appeared.^[33] The work of David Lack on population ecology was pioneering. Newer quantitative approaches were introduced for the study of ecology and behaviour and this was not readily accepted. For instance, Claud Ticehurst wrote:

Sometimes it seems that elaborate plans and statistics are made to prove what is commonplace knowledge to the mere collector, such as that hunting parties often travel more or less in circles.

—Ticehurst^[33]

David Lack's studies on population ecology sought to find the processes involved in the regulation of population based on the evolution of optimal clutch sizes. He concluded that population was regulated primarily by density-dependent controls, and also suggested that natural selection produces life-history traits that maximize the fitness of individuals. Others like Wynne-Edwards interpreted population regulation as a mechanism that aided the "species" rather than individuals. This led to widespread and sometimes bitter debate on what constituted the "unit of selection".^[38] Lack also pioneered the use of many new tools for ornithological research, including the idea of using radar to study bird migration.

Birds were also widely used in studies of the niche hypothesis and Georgii Gause's competitive exclusion principle. Work on resource partitioning and the structuring of bird communities through competition were made by Robert MacArthur. Patterns of biodiversity also became a topic of interest. Work on the relationship of the number of species to area and its application in the study of island biogeography was pioneered by E. O. Wilson and Robert MacArthur.^[38] These studies led to the development of the discipline of landscape ecology.

A mounted specimen of a Red-footed Falcon.

John Hurrell Crook studied the behaviour of weaverbirds and demonstrated the links between ecological conditions, behaviour and social systems.^[38][43][44] Principles from economics were introduced to the study of biology by Jerram L. Brown in his work on explaining territorial behaviour. This led to more studies of behaviour that made use of cost-benefit analyses.^[45] The rising interest in sociobiology also led to a spurt of bird studies in this area.^[38][46]

The study of imprinting behaviour in ducks and geese by Konrad Lorenz and the studies of instinct in Herring Gulls by Nicolaas Tinbergen, led to the establishment of the field of ethology. The study of learning became an area of interest and the study of bird song has been a model for studies in neuro-ethology. The role of hormones and physiology in the control of behaviour has also been aided by bird models. These have helped in the study of circadian and seasonal cycles. Studies on migration have attempted to answer questions on the evolution of migration, orientation and navigation.^[38]

The growth of genetics and the rise of molecular biology led to the application of the gene-centered view of evolution to explain avian phenomena. Studies on kinship and altruism, such as helpers, became of particular interest. The idea of inclusive fitness was used to interpret observations on behaviour and life-history and birds were widely used models for testing hypotheses based on theories postulated by W. D. Hamilton and others.^[38]

The new tools of molecular-biology changed the study of bird systematics. Systematics changed from being based on phenotype to the underlying genotype. The use of techniques such as DNA-DNA hybridization to study evolutionary relationships was pioneered by Charles Sibley and Jon Edward Ahlquist resulting in what is called the Sibley-Ahlquist taxonomy. These early techniques have been replaced by newer ones based on mitochondrial DNA sequences and molecular phylogenetics approaches that make use of computational procedures for sequence alignment, construction of phylogenetic trees and calibration of molecular clocks to infer evolutionary relationships.^[47][48] Molecular techniques are also widely used in studies of avian population biology and ecology.^[49]

Rise to popularity[link]

The use of field glasses or telescopes for bird observation began in the 1820s and 1830s with pioneers like J. Dovaston (who also pioneered in the use of bird-feeders), but it was not until the 1880s that instruction manuals began to insist on the use of optical aids such as "a first-class telescope" or "field glass."^[50][51]

Page from an early field guide by Florence Augusta Merriam Bailey

The rise of field guides for the identification of birds was another major innovation. The early guides were large and cumbersome and were mainly focused on identifying specimens in the hand. The earliest of the new generation of field guides was prepared by Florence Merriam, sister of Clinton Hart Merriam, the mammalogist. This was published in 1887 in a series Hints to Audubon Workers:Fifty Birds and How to Know Them in Grinnell's Audubon Magazine.^[41] These were followed by new field guides including classics by Roger Tory Peterson.^[52]

The interest in birdwatching grew in popularity in many parts of the world and it was realized that there was a possibility for amateurs to contribute to the professional biology. As early as 1916, Julian Huxley wrote a two part article in the Auk, noting the tensions between amateurs and professionals and suggesting the possibility that the "vast army of bird-lovers and bird-watchers could begin providing the data scientists needed to address the fundamental problems of biology."^[53][54]

Organizations were started in many countries and these grew rapidly in membership, most notable among them being the Royal Society for the Protection of Birds (RSPB) in Britain and the Audubon Society in the US. The Audubon Society started in 1885. Both these organizations were started with the primary objective of conservation. The RSPB, born in 1889, grew from a small group of women in Croydon who met regularly and called themselves the Fur, Fin and Feather Folk and who took a pledge "to refrain from wearing the feathers of any birds not killed for the purpose of food, the Ostrich only exempted." The organization did not allow men as members initially, avenging a policy of the British Ornithologists' Union to keep out women.^[31] Unlike the RSPB, which was primarily conservation oriented, the British Trust for Ornithology (BTO) was started in 1933 with the aim of advancing ornithological research. Members were often involved in collaborative ornithological projects. These projects have resulted in atlases which detail the distribution of bird species across Britain.^[3] In the United States, the Breeding Bird Surveys, conducted by the US Geological Survey have also produced atlases with information on breeding densities and changes in the density and distribution over time. Other volunteer collaborative ornithology projects were subsequently established in other parts of the world.^[55]

Techniques[link]

The tools and techniques of ornithology are varied and new inventions and approaches are quickly incorporated. The techniques may be broadly dealt under the categories of those that are applicable to specimens and those that are used in the field, however the classification is rough and many analysis techniques are usable both in the laboratory and field or may require a combination of field and laboratory techniques.

Collections[link]

Bird preservation techniques

The earliest approaches to modern bird study involved the collection of eggs, a practice known as oology. While collecting became a pastime for many amateurs, the labels associated with these early egg collections made them unreliable for the serious study of bird breeding. In order to preserve eggs, a tiny hole was pierced and the contents extracted. This technique became standard with the invention of the blow drill around 1830.^[31] Egg collection is no longer popular; however historic museum collections have been of value in determining the effects of pesticides such as DDT on physiology.^[56][57] Museum bird collections continue to act as a resource for taxonomic studies.^[58]

Morphometric measurements of birds are important in systematics

The use of bird skins to document species has been a standard part of systematic ornithology. Bird skins are prepared by retaining the key bones of the wings, leg and skull along with the skin and feathers. In the past, they were treated with arsenic to prevent fungal and insect (mostly dermestid) attack. Arsenic, being toxic, was replaced by borax. Amateur and professional collectors became familiar with these skinning techniques and started sending in their skins to museums, some of them from distant locations. This led to the formation of huge collections of bird skins in museums in Europe and North America. Many private collections were also formed. These became references for comparison of species and the ornithologists at these museums were able to compare species from different locations, often places that they themselves never visited. Morphometrics of these skins, particularly the lengths of the tarsus, bill, tail and wing became important in the descriptions of bird species. These skin collections have been utilized in more recent times for studies on molecular phylogenetics by the extraction of ancient DNA. The importance of type specimens in the description of species make skin collections a vital resource for systematic ornithology. However, with the rise of molecular techniques, it has now become possible to establish the taxonomic status of new discoveries, such as the Bulo Burti Boubou Laniarius liberatus (no longer a valid species) and the Bugun Liocichla Liocichla bugunorum, using blood, DNA and feather samples as the holotype material.

Other methods of preservation include the storage of specimens in spirit. Such wet-specimens have special value in physiological and anatomical study, apart from providing better quality of DNA for molecular studies.^[59] Freeze drying of specimens is another technique that has the advantage of preserving stomach contents and anatomy, although it tends to shrink making it less reliable for morphometrics.^{[60] [61]}

In the field[link]

The study of birds in the field was helped enormously by improvements in optics. Photography made it possible to document birds in the field with great accuracy. High power spotting scopes today allow observers to detect minute morphological differences that were earlier possible only by examination of the specimen in the hand.^[62]

A bird caught in a mist net

The capture and marking of birds enables detailed studies of life-history. Techniques for capturing birds are varied and include the use of bird liming for perching birds, mist nets for woodland birds, cannon netting for open area flocking birds, the bal-chatri trap for raptors,^[63] decoys and funnel traps for water birds.^[64][65]

A Californian Condor marked with wing tags

The bird in the hand may be examined and measurements can be made including standard lengths and weight. Feather moult and skull ossification provide indications of age and health. Sex can be determined by examination of anatomy in some sexually non-dimorphic species. Blood samples may be drawn to determine hormonal conditions in studies of physiology, identify DNA markers for studying genetics and kinship in studies of breeding biology and phylogeography. Blood may also be used to pathogens and arthropod borne viruses. Ectoparasites may be collected for studies of coevolution and zoonoses.^[66] In many of cryptic species, measurements (such as the relative lengths of wing feathers in warblers) are vital in establishing identity.

Captured birds are often marked for future recognition. Rings or bands provide long-lasting identification but require capture for the information on them to be read. Field identifiable marks such as coloured bands, wing tags or dyes enable short-term studies where individual identification is required. Mark and recapture techniques make demographic studies possible. Ringing has traditionally been used in the study of migration. In recent times satellite transmitters provide the ability to track migrating birds in near real-time.^[67]

Techniques for estimating population density include point counts, transects and territory mapping. Observations are made in the field using carefully designed protocols and the data may be analysed to estimate bird diversity, relative abundance or absolute population densities.^[3] These methods may be used repeatedly over large time spans to monitor changes in the environment.^[68] Camera traps have been found to be a useful tool for the detection and documentation of elusive species, nest predators and in the quantitative analysis of frugivory, seed dispersal and behaviour.^[69][70]

In the laboratory[link]

An Emlen funnel is used to study the orientation behaviour in migratory birds

Many aspects of bird biology are difficult to study in the field. These include the study of behavioural and physiological changes that require a long duration of access to the bird. Non-destructive samples of blood or feathers taken during field studies may be studied in the laboratory. For instance, the variation in the ratios of stable hydrogen isotopes across latitudes makes it possible to roughly establish the origins of migrant birds using mass spectrometric analysis of feather samples.^[71] These techniques can be used in combination with other techniques such as ringing.^[72]

The first attenuated vaccine developed by Louis Pasteur was for fowl cholera and was tested on poultry in 1878.^[73] Poultry continues to be used as a model for many studies in non-mammalian immunology.^[74]

Studies in bird behaviour include the use of tamed and trained birds in captivity. Studies on bird intelligence and song learning have been largely laboratory based. Field researchers may make use of a wide range of techniques such as the use of dummy owls to elicit mobbing behaviour, dummy males or the use of call playback to elicit territorial behaviour and thereby to establish the boundaries of bird territories.^[75]

Studies of bird migration including aspects of navigation, orientation and physiology are often studied using captive birds in special cages that record their activities. The Emlen funnel for instance makes use of a cage with an inkpad at the centre and a conical floor where the ink marks can be counted to identify the direction in which the bird attempts to fly. The funnel can have a transparent top and visible cues such as the direction of sunlight may be controlled using mirrors or the positions of the stars simulated in a planetarium.^[76]

The entire genome of the domestic fowl Gallus gallus was sequenced in 2004 and was followed in 2008 by the genome of the Zebra Finch (Taeniopygia guttata).^[77] Such whole genome sequencing projects allow for studies on evolutionary processes involved in speciation.^[78] Associations between the expression of genes and behaviour may be studied using candidate genes. Variations in the exploratory behaviour of Great Tits (Parus major) have been found to be linked with a gene orthologous to the human gene DRD4 (Dopamine receptor D4) which is known to be associated with novelty-seeking behaviour.^[79] The role of gene expression in developmental differences and morphological variations have been studied in Darwin's finches. The difference in the expression of Bmp4 have been shown to be associated with changes in the growth and shape of the beak.^[80][81]

The chicken has long been a model organism for studying vertebrate developmental biology. As the embryo is readily accessible, its development can be easily followed (unlike mice). This also allows the use of electroporation for studying the effect of adding or silencing a gene. Other tools for perturbing their genetic makeup are chicken embryonic stem cells and viral vectors.^[82]

Collaborative studies[link]

Summer distribution and abundance of Canada Goose using data from the North American Breeding Bird Surveys 1994-2003

With the widespread interest in birds, it has been possible to use a large number of people to work on collaborative ornithological projects that cover large geographic scales.^[83][84] These citizen science projects include nation-wide projects such as the Christmas Bird Count,^[85] Backyard Bird Count,^[86] the North American Breeding Bird Survey, the Canadian EPOQ^[87] or regional projects such as the Asian Waterfowl Census and Spring Alive in Europe. These projects help to identify distributions of birds, their population densities and changes over time, arrival and departure dates of migration, breeding seasonality and even population genetics.^[88] The results of many of these projects are published as bird atlases. Studies of migration using bird ringing or colour marking often involve the cooperation of people and organizations in different countries.^[89]

Applications[link]

Wild birds impact many human activities while domesticated birds are important sources of eggs, meat, feathers and other products. Applied and economic ornithology aim to reduce the ill effects of problem birds and enhance gains from beneficial species.

Red-billed Quelea are a major agricultural pest in parts of Africa.

The role of some species of birds as pests has been well known, particularly in agriculture. Granivorous birds such as the queleas in Africa are among the most numerous birds in the world and foraging flocks can cause devastation.^[90][91] Many insectivorous birds are also noted as beneficial in agriculture. Many early studies on the benefits or damages caused by birds in fields were made by analysis of stomach contents and observation of feeding behaviour.^[92] Modern studies aimed to manage birds in agriculture make use of a wide range of principles from ecology.^[93] Intensive aquaculture has brought humans in conflict with fish-eating birds such as cormorants.^[94]

Large flocks of pigeons and starlings in cities are often considered as a nuisance and techniques to reduce their populations or their impacts are constantly innovated.^[95][96] Birds are also of medical importance and their role as carriers of human diseases such as Japanese Encephalitis, West Nile Virus and H5N1 have been widely recognised.^[97][98] Bird strikes and the damage they cause in aviation are of particularly great importance, due to the fatal consequences and the level of economic losses caused. It has been estimated that the airline industry incurs worldwide damages of US $ 1.2 billion each year.^[99]

Many species of birds have been driven to extinction by human activities. Being conspicuous elements of the ecosystem, they have been considered as indicators of ecological health.^[100] They have also helped in gathering support for habitat conservation.^[101] Bird conservation requires specialized knowledge in aspects of biology, ecology and may require the use of very location specific approaches. Ornithologists contribute to conservation biology by studying the ecology of birds in the wild and identifying the key threats and ways of enhancing the survival of species.^[102] Critically endangered species such as the California Condor have had to be captured and bred in captivity. Such ex-situ conservation measures may be followed by re-introduction of the species into the wild.^[103]

See also[link]

• Avian ecology field methods
• Bird observatory
• List of ornithologists
• List of ornithologists abbreviated names‎
• List of ornithologists and their proper name contributions
• List of ornithological societies
  • List of state ornithological organizations in the United States
  • List of Canadian provincial ornithological organizations
• List of ornithology journals
• List of ornithology awards

References[link]

External links[link]

• Lewis, Daniel. The Feathery Tribe: Robert Ridgway and the Modern Study of Birds. Yale University Press. Forthcoming March 8, 2012. [1].
• Ornithologie (1773–1792) Francois Nicholas Martinet Digital Edition Smithsonian Digital Libraries
• List of oldest ornithological organisations in the world
• History of ornithology in North America
• History of ornithology in China
• Hill ornithology collections
• Robert Ridgway's A Nomenclature of Colors (1886) and Color Standards and Color Nomenclature (1912) - text-searchable digital facsimiles at Linda Hall Library

Charlie Parker
Charlie Parker with Tommy Potter, Max Roach and Miles Davis at Three Deuces, New York, NY
Background information
Birth name	Charles Parker, Jr.
Also known as	Bird, Yardbird, Zoizeau (in France)[1]
Born	(1920-08-29)August 29, 1920 Kansas City, Kansas, U.S.
Died	March 12, 1955(1955-03-12) (aged 34) New York City, New York, U.S.
Genres	Jazz, bebop
Occupations	Saxophonist, composer
Instruments	Alto saxophone, tenor saxophone
Years active	1937–1955
Labels	Savoy, Dial, Verve
Website	www.cmgww.com/music/parker/
Notable instruments
Buescher, Conn, King and Grafton alto saxophones

Charles Parker, Jr. (August 29, 1920 – March 12, 1955), also known as Yardbird and Bird,^[2] was an American jazz saxophonist and composer.

Parker acquired the nickname "Yardbird" early in his career^[3] and the shortened form, "Bird", which continued to be used for the rest of his life, inspiring the titles of a number of Parker compositions, such as "Yardbird Suite", "Ornithology", "Bird Gets the Worm", and "Bird of Paradise."

Parker was a highly influential jazz soloist and a leading figure in the development of bebop^[4], a form of jazz characterized by fast tempos, virtuosic technique, and improvisation. Parker introduced revolutionary harmonic ideas, including rapidly passing chords, new variants of altered chords, and chord substitutions. His tone ranged from clean and penetrating to sweet and somber. Many Parker recordings demonstrate virtuosic technique and complex melodic lines, combining jazz with other musical genres, including blues, Latin, and classical.

Parker was an icon for the hipster subculture and later the Beat Generation, personifying the jazz musician as an uncompromising artist and intellectual, rather than an entertainer.

Biography[link]

Childhood[link]

Charlie Parker was born in Kansas City, Kansas, and raised in Kansas City, Missouri, the only child of Charles and Addie Parker. Parker attended Lincoln High School.^[5] He enrolled in September 1934 and withdrew in December 1935, just before joining the local Musicians Union.

Parker began playing the saxophone at age 11, and at age 14 joined his school's band using a rented school instrument. His father, Charles, was often absent but provided some musical influence; he was a pianist, dancer and singer on the T.O.B.A. circuit. He later became a Pullman waiter or chef on the railways. Parker's mother Addie worked nights at the local Western Union office. His biggest influence at that time was a young trombone player who taught him the basics of improvisation^{[citation needed]}.

Early career[link]

In the late thirties Parker began to practice diligently. During this period he mastered improvisation and developed some of the ideas that led to bebop. In an interview with Paul Desmond, he said that he spent 3–4 years practicing up to 15 hours a day.^[6]

Bands led by Count Basie and Bennie Moten undoubtedly influenced Parker. He played with local bands in jazz clubs around Kansas City, Missouri, where he perfected his technique, with the assistance of Buster Smith, whose dynamic transitions to double and triple time influenced Parker's developing style.

In 1938, Parker joined pianist Jay McShann's territory band.^[7] The band toured nightclubs and other venues of the southwest, as well as Chicago and New York City.^[8][9] Parker made his professional recording debut with McShann's band.

As a teenager, Parker developed a morphine addiction while in the hospital, after an automobile accident, and subsequently became addicted to heroin. He continued using heroin throughout his life, which ultimately contributed to his death.

New York City[link]

In 1939 Parker moved to New York City, to pursue a career in music. He held several other jobs as well. He worked for nine dollars a week as a dishwasher at Jimmie's Chicken Shack, where pianist Art Tatum performed^{[citation needed]}

In 1942 Parker left McShann's band and played with Earl Hines for one year, whose band included Dizzy Gillespie, who later played with Parker as a duo. Unfortunately, this period is virtually undocumented, due to the strike of 1942–1943 by the American Federation of Musicians, during which time few recordings were made. Parker joined a group of young musicians, and played in after-hours clubs in Harlem, such as Clark Monroe's Uptown House and Minton's Playhouse. These young iconoclasts included Gillespie, pianist Thelonious Monk, guitarist Charlie Christian, and drummer Kenny Clarke. The beboppers' attitude was summed up in a famous quotation attributed to Monk by Mary Lou Williams: "We wanted a music that they couldn't play"^[10] – "they" being the white bandleaders who had usurped and profited from swing music. The group played in venues on 52nd Street, including Three Deuces and The Onyx. While in New York City, Parker studied with his music teacher, Maury Deutsch.

Bebop[link]

According to an interview Parker gave in the 1950s, one night in 1939, he was playing "Cherokee" in a jam session with guitarist William "Biddy" Fleet when he hit upon a method for developing his solos that enabled one of his main musical innovations. He realized that the twelve tones of the chromatic scale can lead melodically to any key, breaking some of the confines of simpler jazz soloing.

Early in its development, this new type of jazz was rejected by many of the established, traditional jazz musicians who disdained their younger counterparts. The beboppers responded by calling these traditionalists "moldy figs". However, some musicians, such as Coleman Hawkins and Benny Goodman, were more positive about its development, and participated in jam sessions and recording dates in the new approach with its adherents.

Because of the two-year Musicians' Union ban of all commercial recordings from 1942 to 1944, much of bebop's early development was not captured for posterity. As a result, it gained limited radio exposure. Bebop musicians had a difficult time gaining widespread recognition. It was not until 1945, when the recording ban was lifted, that Parker's collaborations with Dizzy Gillespie, Max Roach, Bud Powell and others had a substantial effect on the jazz world. One of their first (and greatest) small-group performances together was rediscovered and issued in 2005: a concert in New York's Town Hall on June 22, 1945. Bebop soon gained wider appeal among musicians and fans alike.

On November 26, 1945, Parker led a record date for the Savoy label, marketed as the "greatest Jazz session ever." The tracks recorded during this session include "Ko-Ko" and "Now's the Time".

Shortly afterwards, the Parker/Gillespie band traveled to an unsuccessful engagement at Billy Berg's club in Los Angeles. Most of the group returned to New York, but Parker remained in California, cashing in his return ticket to buy heroin. He experienced great hardship in California, eventually being committed to Camarillo State Mental Hospital for a six-month period.

Addiction[link]

Parker's chronic addiction to heroin caused him to miss gigs and lose work. He frequently resorted to busking on the streets, receiving loans from fellow musicians and admirers, and pawning his saxophones, for drug money. Heroin use was rampant in the jazz scene and the drug could be acquired easily.

Although he produced many brilliant recordings during this period, Parker's behavior became increasingly erratic. Heroin was difficult to obtain when he moved to California, where the drug was less abundant, and Parker began to drink heavily to compensate for it. A recording for the Dial label from July 29, 1946, provides evidence of his condition. Prior to this session, Parker drank a quart of whiskey. According to the liner notes of Charlie Parker on Dial Volume 1, Parker missed most of the first two bars of his first chorus on the track, "Max Making Wax." When he finally did come in, he swayed wildly and once spun all the way around, away from his microphone. On the next tune, "Lover Man", producer Ross Russell physically supported Parker. On "Bebop" (the final track Parker recorded that evening) he begins a solo with a solid first eight bars. On his second eight bars, however, Parker begins to struggle, and a desperate Howard McGhee, the trumpeter on this session, shouts, "Blow!" at Parker. Charles Mingus considered this version of "Lover Man" to be among Parker's greatest recordings, despite its flaws.^[11] Nevertheless, Parker hated the recording and never forgave Ross Russell for releasing it. He re-recorded the tune in 1951 for Verve.

When Parker was released from the hospital, he was clean and healthy, and proceeded to do some of the best playing and recording of his career. He converted to Islam in the manner of the Ahmadiyya movement in the US.^[12] Before leaving California, he recorded "Relaxin' at Camarillo", in reference to his hospital stay. He returned to New York, resumed his addiction to heroin and recorded dozens of sides for the Savoy and Dial labels, which remain some of the high points of his recorded output. Many of these were with his so-called "classic quintet" including trumpeter Miles Davis and drummer Max Roach.

Charlie Parker with Strings[link]

A longstanding desire of Parker's was to perform with a string section. He was a keen student of classical music, and contemporaries reported he was most interested in the music and formal innovations of Igor Stravinsky, and longed to engage in a project akin to what later became known as Third Stream Music, a new kind of music, incorporating both jazz and classical elements as opposed to merely incorporating a string section into performance of jazz standards. On November 30, 1949, Norman Granz arranged for Parker to record an album of ballads with a mixed group of jazz and chamber orchestra musicians.^[13] Six master takes from this session comprised the album Charlie Parker with Strings: "Just Friends", "Everything Happens to Me", "April in Paris", "Summertime", "I Didn't Know What Time It Was", and "If I Should Lose You". The sound of these recordings is rare in Parker's catalog. Parker's improvisations are, in comparison to his usual work, more distilled and economical. His tone is darker and softer than on his small-group recordings, and the majority of his lines are beautiful embellishments on the original melodies rather than harmonically based improvisations. These are among the few recordings Parker made during a brief period when he was able to control his heroin habit, and his sobriety and clarity of mind are evident in his playing. Parker stated that, of his own records, Bird With Strings was his favorite. Although using classical music instrumentation with jazz musicians was not entirely original, this was the first major work where a composer of bebop was matched with a string orchestra.

Jazz at Massey Hall[link]

In 1953, Parker performed at Massey Hall in Toronto, Canada, joined by Gillespie, Mingus, Bud Powell and Max Roach. Unfortunately, the concert clashed with a televised heavyweight boxing match between Rocky Marciano and Jersey Joe Walcott, so was poorly attended. Mingus recorded the concert, resulting in the album Jazz at Massey Hall. At this concert, he played a plastic Grafton saxophone^{[citation needed]}. At this point in his career he was experimenting with new sounds and materials. Parker himself explained the purpose of the plastic saxophone in a May 9, 1953 broadcast from Birdland and does so again in subsequent May 1953 broadcast.^{[citation needed]}

Parker is known to have played several saxophones, including the Conn 6M, The Martin Handicraft and Selmer Model 22. Parker is also known to have performed with a King "Super 20" saxophone. Parker's King Super 20 saxophone was made specially for him in 1947.

Death[link]

Parker died in the suite of his friend and patron Baroness Pannonica de Koenigswarter at the Stanhope Hotel in New York City while watching The Dorsey Brothers' Stage Show on television. The official causes of death were lobar pneumonia and a bleeding ulcer but Parker also had an advanced case of cirrhosis and had suffered a heart attack. The coroner who performed his autopsy mistakenly estimated Parker's 34-year-old body to be between 50 and 60 years of age.^[14]

Parker had been living since 1950 with Chan Richardson, the mother of his son Baird and his daughter Pree (who died as an infant of cystic fibrosis). He considered Chan his wife; however he never formally married her, nor did he divorce his previous wife, Doris (whom he had married in 1948). This complicated the settling of Parker's inheritance and would ultimately serve to frustrate his wish to be quietly interred in New York City.

It was well known that Parker never wanted to return to Kansas City, even in death.^{[citation needed]} Parker had told Chan that he did not want to be buried in the city of his birth; that New York was his home. Dizzy Gillespie paid for the funeral arrangements^[15] and organized a lying-in-state, a Harlem procession officiated by Adam Clayton Powell, Jr., as well as a memorial concert, before Parker's body was flown back to Missouri, in accordance with his mother's wishes. Parker was buried at Lincoln Cemetery in Missouri, in a hamlet known as Blue Summit.

Parker's estate is managed by CMG Worldwide.

Music[link]

Parker's style of composition involved interpolation of original melodies over pre-existing jazz forms and standards, a practice still common in jazz today. Examples include "Ornithology" ("How High The Moon") and "Yardbird Suite", the vocal version of which is called "What Price Love", with lyrics by Parker. The practice was not uncommon prior to bebop; however, it became a signature of the movement as artists began to move away from arranging popular standards and compose their own material.

While tunes such as "Now's The Time", "Billie's Bounce", and "Cool Blues" were based on conventional twelve-bar blues changes, Parker also created a unique version of the 12-bar blues for his tune "Blues for Alice". These unique chords are known popularly as "Bird Changes".^{[citation needed]} Like his solos, some of his compositions are characterized by long, complex melodic lines and a minimum of repetition although he did employ the use of repetition in some tunes, most notably "Now's The Time".

Parker contributed greatly to the modern jazz solo, one in which triplets and pick-up notes were used in unorthodox ways to lead into chord tones, affording the soloist with more freedom to use passing tones, which soloists previously avoided. Parker was admired for his unique style of phrasing and innovative use of rhythm. Via his recordings and the popularity of the posthumously published Charlie Parker Omnibook, Parker's uniquely identifiable style dominated jazz for many years to come.

Discography[link]

Awards and recognitions[link]

Grammy Award

Grammy Hall of Fame

Recordings of Charlie Parker were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance."

Inductions