Haal E Dil Mera Female Version Song Download
Fran Bottella
From what I remember, it's a pretty slow song with a female vocalist singing in a sort of airy voice. I don't remember any lyrics aside from her singing "ha, ha, haaaa / ha, ha, haaa-ahhhhh." I'll record a Vocaroo to add later. There might be some deep, slow, bass drumbeats reminiscent of a heartbeat in the background. I think the rest of the instrumentation throughout is relatively light, but there may be piano as well.
Lani Hall (born November 6, 1945) is an American singer, lyricist, and author. From 1966 to 1971 she performed as lead vocalist for Sérgio Mendes & Brasil '66. In 1972 Hall released her first solo album, Sun Down Lady. She may be best known, however, for providing the most recognizable (female) face and (female) vocal signature sound to Sérgio's group during her tenure there, and for her rendition of the theme song to the 1983 James Bond film, Never Say Never Again, with its accompanying video, in which she prominently appears. In 1986 she was awarded her first Grammy for Es Fácil Amar, as "Best Latin Pop Performance."[1]
The evolution of elaborate traits has almost universally been attributed to sexual selection acting on males1,2,3. Elaborate signal traits in females are often phenotypically similar to those of males, but there is controversy over whether they arise similarly through sexual selection, or through broader processes such as social or natural selection4,5,6,7. Resolution of this debate is constrained by a paucity of knowledge about female signal traits1,3, a bias that is particularly pronounced in the study of bird song8,9.
Instances of female song have traditionally been dismissed as rare, atypical or the outcome of hormonal aberrations13,14,15. However, a number of studies have proposed that this view is erroneous8,9,16, and reflects a geographical bias towards temperate North America and Europe, where species with male-only song are disproportionately common compared with other biogeographical regions17,18,19. While there is growing acknowledgement that female song is more common and evolutionarily important than previously thought9,18,20, this has not been assessed quantitatively across both phylogenetically and geographically diverse lineages16,21,22.
Here we propose and test an evolutionary scenario that is radically different from the framework used since Darwin applied his theory of sexual selection to bird song: rather than being rare and atypical, we propose that female song is widespread and ancestral in songbirds. We base this hypothesis on two observations9. First, the majority of songbird biodiversity exists in tropical regions23, where both females and males of many species sing17,18,20. Second, female song is widespread in Australasia19, the region from which songbirds are thought to have originated24. To provide a quantitative test of this hypothesis, we first surveyed the occurrence of female song, and then used ancestral state reconstruction to examine the likelihood that females sang in the ancestor of all songbirds. We focused on the songbirds (oscine passerines) because they are the major radiation of birds known for learned, sexually selected, complex songs15. We included all families of songbirds except those belonging to the most recent radiation, the Passerida24. We omitted the Passerida because they are so nested within the songbird phylogeny that they contribute only 0.08% to reconstruction of the ancestral node in songbirds (although they are the most specious Parvorder of songbirds with 3,822 of 5,023 songbird species25). This resulted in our survey including 44 of 112 songbird families25.
We show that female song occurs in over two-thirds of surveyed songbird species and families. Moreover, ancestral state reconstruction reveals that females sang in the ancestral songbird, a result that challenges the view that sexual dimorphism in song production arises primarily as a result of sexual selection.
We investigated the presence of female song in 1,141 songbird species. Using stringent criteria (see Methods), we were able to score 323 species (representing 34 of the 44 songbird families examined, see Supplementary Table 1) for the presence or absence of female song based on several major sources (primarily Handbook of the Birds of the World26, see Methods for complete list). Our survey showed that female song is present in 71% of the songbird species in our sample (229 of 323 species), including 32 of 34 oscine families that had information on which sexes sing (Fig. 1, Supplementary Table 1). This result is complemented by a regional study that found female song in 43% of European passerine species, primarily Passerida (23 out of 26 families)21. Together with our worldwide survey, which included information from an additional 34 songbird families, there is strong evidence that female song is globally and phylogenetically widespread.
The tree (a) includes all species for which we could unambiguously score female song as present or absent (323/1,141 species from 34/44 songbird families). Female song was present in 229 species (32 families; red terminal nodes) and female song was absent in 94 species (19 families; blue terminal nodes). The pie chart in the centre shows that female song is reconstructed as present (red) in the common ancestor of modern songbirds (92% maximum-likelihood probability strongly supported by a likelihood decision threshold of 2.0). Pictures show females of the following species with female song from families throughout the phylogeny; (b) superb lyrebird (Menura novaehollandiae; figure reproduced with permission from V. Dunis), (c) purple-crowned fairywren (Malurus coronatus; figure reproduced with permission from M. Hall), (d) brown thornbill (Acanthiza pusilla; figure reproduced with permission from J.J. Harrison), (e) scarlet robin (Petroica boodang; figure reproduced with permission from K. Odom), (f) white-eyed vireo (Vireo griseus; figure reproduced with permission from F. Jacobsen), (g) grey butcherbird (Cracticus torquatus; figure reproduced with permission from A. Kearns), (h) tropical boubou (Laniarius aethiopicus; figure reproduced with permission from J. Friedman), (i) loggerhead shrike (Lanius ludovicianus; figure reproduced with permission from F. Jacobsen), (j) magpie-lark (Grallina cyanoleuca; figure reproduced with permission from M. Hall), (k) curl-crested manucode (Manucodia comrii; figure reproduced with permission from T. Laman).
We mapped the data from our survey of female song onto a recent and exhaustive phylogenetic tree for the passerines constructed from a supermatrix containing all available GenBank gene sequences (covering 66.5% of passerine species)27. This provided estimates of actual branch lengths and species relationships, important for maximum-likelihood ancestral state reconstruction. We reconstructed the ancestral state for the oscines using both parsimony (unordered) and maximum-likelihood (Markov k-state one-parameter, Mk1, and asymmetrical two-parameter Markov k-state, Asymm.2) analyses in Mesquite v2.75 (ref. 28) (Table 1). All three models agreed that female song was more likely to be present than absent in the ancestor of songbirds (Table 1). Parsimony analysis unequivocally (100% probability) reconstructed female song as the ancestral state, and maximum likelihood indicated a 91.9% probability that females sang in the ancestor of the oscine passerines (strongly supported by a likelihood decision threshold of 2.0; Fig. 1, Table 1). Additional reconstructions using a sample of 100 molecular trees from Jetz et al.29 gave nearly identical results for both parsimony (100%) and maximum likelihood (92.6%).
Our finding that song is both widespread and ancestral in female songbirds calls for a re-evaluation of the pervasive view of bird song as an epigamic male trait that has evolved through sexual selection8. Females, as well as males, can experience intense competition over ecological resources, which may select for traits that signal their competitive prowess or ownership of resources5. Since song originally evolved in both sexes, this broader conceptual framework of social selection, in which sexual selection is one component of selection resulting from social interactions4,7, may be useful for studying the evolution and maintenance of song in both males and females.
Moreover, our results show that the current sexual dimorphism in song seen in some species reflects recent evolutionary losses of female song from an ancestor that had both male and female song (Fig. 1). Song in both sexes in the ancestor to the modern songbirds suggests that the current sexual dimorphism in elaborate traits results from selection against these traits in females, paralleling recent findings on the evolution of plumage dichromatism in some birds16,30,31. This perspective prompts the question of why females have lost song secondarily in certain lineages. Four correlates of female song have been identified: a tropical distribution18, year-round territoriality19, convergent sex roles20 and sexual dichromatism in carotenoid-based colours21. Correspondingly, phylogenetic analysis of New World blackbirds showed loss of female song was correlated with loss of a composite life-history pattern of monogamy, dispersed nesting (a proxy for territoriality) and non-migratory behaviour16,32. Migration is also associated with more elaborate song and higher testosterone levels in males21,33, suggesting that the evolution of migration might be an important driver of sex role divergence and sexual dimorphism in song. This and related hypotheses could be tested in future comparative analyses in the range of taxa that have lost female song, and in songbirds in general.
Sex differences in the developmental neuroanatomy of songbirds are also consistent with an early origin of bird song in both sexes. Male and female songbirds develop equivalent neural song production systems during embryonic development34. The song nuclei subsequently atrophy in females of species that lack female song altogether35. Exposure of these females to steroid hormones as juveniles can induce masculinization of brain morphology and functional capacity for song36. Thus, the widely studied sexual dimorphism in the song control system of some songbirds, like sexual dimorphism in song production itself37, is consistent with secondary loss of these attributes in females of some species. Greater variation in the expression of song and higher rates of song loss in females than in males suggest that female songbirds would provide an ideal model for comparative studies investigating candidate genes and molecular pathways regulating song control and vocal learning in birds38,39.
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