456Obituary – Jacques M. E. Vielliard (1944‐2010) life and legacyCarlos B. <strong>de</strong> Araújo and Maria Luisa SilvaBrazil. The expedition also inclu<strong>de</strong>d the famous Brazilianornithologists Helmut Sick and Augusto Ruschi, andalso the botanist Dárdano <strong>de</strong> Andra<strong>de</strong>-Lima. This mightbe consi<strong>de</strong>red a turning point in his life, as it would allowJacques to meet many people in Brazil, and this leadto the invitation from Zeferino Váz to establish a Bioacousticslab at the recently created and promising Universida<strong>de</strong>Estadual <strong>de</strong> Campinas, in 1978, where he wouldwork until his <strong>de</strong>ath. The invitation of Jacques Vielliardfirst (at the time in his late 20’s) by Dr. Leão, and laterby Zeferino Váz to Unicamp, allowed Brazil to establishwhat would become a wi<strong>de</strong> field of study: bioacoustics,the study of animal communication.His most important legacy is probably the creationof the Arquivo Sonoro Neotropical (Neotropical SoundArchive, ASN), the largest for the Neotropical region,and one of the most important in the world. It has about30.000 high fi<strong>de</strong>lity sound recordings, and is currentlybeing digitized. His project was a web-based SQL software,which would allow for worldwi<strong>de</strong> access either todownload or upload sound files into his library. Thesefiles would be kept in Campinas, but with security copiesin Belém (State of Pará) and un<strong>de</strong>r the bunkers of theBritish Library in London, “where it would be protectedFigure 2: Jacques Vielliard at his lab in Campinas, showing part ofhis sound collection during a paper interview on the digitization ofASN in 2008 (Photo: Antoninho Perri).from an atomic war”, as he would say with a childishsmile. This is an ongoing work that is kept un<strong>de</strong>r the responsibilityof ASN’s current curator Wesley Silva, a formerStu<strong>de</strong>nt and currently an Associate Professor in thesame Department that Jacques has worked for most ofhis life. Jacques had also started a sound archive in thestate of Pará, the Arquivo dos sons da Amazônia (AmazonianSound Archive, ASA), where he had been workingin the past years. His main objective was to complete hiscollection of Brazilian birds, as he felt that Amazonianbiodiversity was not properly sampled.The ASN came from the necessity of proper birdi<strong>de</strong>ntification through sound, so he could <strong>de</strong>velop waysto measure diversity through bioacoustics. He had triedthat on the early 70’s but rapidly noticed that he wouldneed to better <strong>de</strong>scribe the rich and diverse tropical birdcalls if he was to create a methodology for ecological studiesthrough bioacoustics. In fact, his methodology to <strong>de</strong>scribediversity based on sound (Vielliard e Silva 1990) isone of his most famous papers, and <strong>de</strong>spite the fact thathe has published it during a scientific meeting, it is requestedover and over in ornithological groups, or directlythrough his e‐mail. He proposed an indirect measure ofabundance based on bird i<strong>de</strong>ntification, which could beused to compare diversity between areas. While in BrazilJacques managed to remain inclu<strong>de</strong>d in global bioacousticsdiscussions, even as he created this huge data set onBrazilian animal communication. He was, for example,member of the editorial board of Bioacoustics, the onlymagazine specific to the subject of animal communication.In fact he was complete as a scientist, as he gatheredand <strong>de</strong>scribed information on Brazilian animals in a herculeanway, but also created new and original tools withthe use of bioacoustics, and still managed to keep insertedin the main discussions in the area.He took was part in the discussion on how to usebird call parameters on Phylogeny, publishing papers onthe subject, and also coordinating a round table duringthe XXI International Ornithological Congress in Vienna.The use of bioacoustical data in phylogeny brings acomplex discussion, which has to incorporate call ontogeny,call stereotypy, habitat pressures, and also call variation(either geographic, population or individual). Altogether,these fields have a central role on how to use andwhat parameters would be best for phylogeny purposes,and he had stepped in all these fields. Despite Jacquesdid not work on any phylogeny strictu sensu, he provedbioacoustics might be used on taxonomy. For instance,he indicated that the Yellow-faced Parrot (formerly Amazonaxanthops) was closer to Pionus than to the Amazonagenus (Vielliard 1994). This was later corroborated by cytogeneticand molecular data. Today the species is wi<strong>de</strong>lyaccepted as Alipiopsitta xanthops, and it is consi<strong>de</strong>red tobe closer to Pionus than to Amazona, just as Jacques hadproposed using solely bioacoustical data.Revista <strong>Brasileira</strong> <strong>de</strong> <strong>Ornitologia</strong>, 19(3), 2011
Obituary – Jacques M. E. Vielliard (1944‐2010) life and legacyCarlos B. <strong>de</strong> Araújo and Maria Luisa Silva457As a scientist, he was <strong>de</strong>eply concerned with theproper <strong>de</strong>finition of concepts. What is a call, a syllable,a pulse, a song? His concerns with the proper <strong>de</strong>finitionsof basic concepts in bioacoustics are recurrent, and havebeen the topic of many discussions with his stu<strong>de</strong>nts. Itmay also be illustrated with his paper on this very magazine,in which Jacques felt that a great chance was lostin the Handbook of the birds of the World, as insteadof <strong>de</strong>fining concepts the authors used the space to makea somewhat less general work. He <strong>de</strong>fined the conceptof functional song as the song that presents the speciesspecificco<strong>de</strong>, as he noticed that not every call presentsthis characteristic. This would imply in a distinct use offunctional and non-functional song un<strong>de</strong>r bioacousticalanalysis, making it a crucial <strong>de</strong>finition. He has a paperrestricted to bioacoustical <strong>de</strong>finitions, which also <strong>de</strong>monstrateshis concerns on the subject (Vielliard 1987).Another example of proper use of concepts comes fromsong versatility. He had observed that while some speciespresented highly predictable songs, other presentedvery rich and unpredictable ones. But how can song versatilitybe measured? The solution was found (togetherwith his partner Dr. Maria Luisa Silva, and her supervisorDr. José Castilho Piqueira) through the use of Shannonentropy in<strong>de</strong>x, wi<strong>de</strong>ly known by biologists as a measureof diversity, but with the original purpose of measuringinformation. He put the concept back onto its originalpurpose, and had successfully measured song versatilityfor a couple of Brazilian species.Brazilian bioacoustics has a historical bond withFrance, as Hercules Florence, a French naturalist memberof the Langsdorff expedition, was the first to acknowledgethe specificity of birdcalls, as he ma<strong>de</strong> a rudimentary tryto <strong>de</strong>scribe bird species through the use of the music pentagram.Florence had settled and married in Campinas,and Jacques translated Florence’s original manuscript ina book entitled A Zoophonia <strong>de</strong> Hercules Florence (1993).Through the observation and knowledge of Brazilian birdcommunication, and also using the call specificity originallyproposed by Florence, Jacques managed to <strong>de</strong>scribetwo cryptic species from Brazil: the Amazonian Pygmy-Owl Glaucidium hardyi (1989) and the Cipo CanasteroAsthenes luizae (1990).As the central reference on bird communication inBrazil he had the chance to work as an advisor on a coupleof Brazilian movies, creating soundscapes that wereused in Deus é Brasileiro (God is Brazilian, 2002), Cinema,Aspirinas e Urubus (Cinema, Aspirins and Vultures,2005), O Homem da Lagoa Santa (A documentary on thelife of Peter Lund, 2005). He also supervised Tetê Espíndola(a major Brazilian singer) to make a record entitledOuvir/Birds (Listen/Birds, 1991), inspired on the voicesFigure 3: Jacques Vielliard recording birds with his 1980’s Nagra‐E recor<strong>de</strong>r, in 2008 (Photo: Antoninho Perri).Revista <strong>Brasileira</strong> <strong>de</strong> <strong>Ornitologia</strong>, 19(3), 2011
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