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McGreevy, P. D., Harman, A., McLean, A., & Hawson, L. (2010). Over-flexing the horse's neck: A modern equestrian obsession? Journal of Veterinary Behavior: Clinical Applications and Research, 5(4), 180–186.
Abstract: We used an opportunistic review of photographs of different adult and juvenile horses walking, trotting, and cantering (n = 828) to compare the angle of the nasal plane relative to vertical in feral and domestic horses at liberty (n = 450) with ridden horses advertised in a popular Australian horse magazine (n = 378). We assumed that horses in advertisements were shown at, what was perceived by the vendors to be, their best. Of the ridden horses, 68% had their nasal plane behind the vertical. The mean angle of the unridden horses at walk, trot, and canter (30.7 ± 11.5; 27.3 ± 12.0; 25.5 ± 11.0) was significantly greater than those of the ridden horses (1.4 ± 14.1; ?5.1 ± ?11.1; 3.1 ± 15.4, P < 0.001). Surprisingly, unridden domestic horses showed greater angles than feral horses or domestic horses at liberty. We compared adult and juvenile horses in all 3 gaits and found no significant difference. Taken together, these findings demonstrate that the longitudinal neck flexion of the degree desirable by popular opinion in ridden horses is not a common feature of unridden horses moving naturally. Moreover, they suggest that advertised horses in our series are generally being ridden at odds with their natural carriage and contrary to the international rules of dressage (as published by the International Equestrian Federation). These findings are discussed against the backdrop of the established doctrine, which states that carrying a rider necessitates changes in longitudinal flexion, and in the context of the current debate around hyperflexion.
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Passilongo, D., Marchetto, M., & Apollonio, M. (2017). Singing in a wolf chorus: structure and complexity of a multicomponent acoustic behaviour. Hysterix, 28(2), 180–185.
Abstract: Wolf choruses ( Canis lupus ) are complex, multicomponent signals, composed by a series of different vocalizations emitted by a pack. Although howls, the main component, have been highly studied, poor attention has been drawn upon the other vocalizations of the chorus. In this study, we investigate the structure of the chorus by means of the analysis and the quantification of the different components, taking advantage both of the digital sound recording and analysis, and of the modern statistical methodologies. We provide for the first time a detailed, objective description of the types of call emitted during the wolf howlings, combining spectrographic examinations, spectral analyses and automated classifications, with the aim to identify different types of call. Our results show that wolf choruses have a rich, complex structure, that reveals six other types of call, to be added to those howls already described in literature. Wolf choruses are typically composed by other three different types of calls: the bark, i.e. relatively long calls characterized by low frequencies and the presence of harsh components (deterministic chaos); the whimper, characterized by a harmonic structure and a very short duration; and the growl, a call with a noisy structure, low frequencies but relative long duration. Although further investigations are necessary to understand the meaning of the different calls, this research provides a basis for those studies that aim to compare wolves and other canids vocal behaviour.
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Ripple, W. J., Estes, J. A., Beschta, R. L., Wilmers, C. C., Ritchie, E. G., & Hebblewhite, M. (2014). Status and ecological effects of the world's largest carnivores. Science, 343.
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Ripple, W. J., & Beschta, R. L. (2012). Trophic cascades in Yellowstone: The first 15 years after wolf reintroduction. Biol Conserv, 145.
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