ABSTRACT
Catch rates of black army cutworm moths,Actebia fennica (Lepidoptera: Noctuidae), were determined for different types of traps and different dispenser loads of sex attractant. Of the five traps tested, highest catch (35 males/per night) was obtained with Uni-Traps, whereas Pherocon 1CP, Delta and Hara traps rapidly became saturated at 9, 6, and 11 males/per night, respectively. Multi-Pher traps, like the Uni-Traps, have a covered vertical cone with a large collecting bucket but only catch about 1/3 of the number of moths (9 males/per night) as the Uni-Traps, thus reducing potential saturation. Red rubber septa loaded with 500 µg of attractant blend gave a consistent catch for at least 60 days; 1000 and 2000 µg loadings lasted for a minimum of 90 days. Polyvinylchloride and red rubber septa dispensers containing 100 µg of attractant had similar catch rates, which decreased rapidly with age. Based on these trap and lure-loading experiments, Multi-Pher traps baited with 1000 µg of attractant in a red rubber septum were selected for future calibration studies between catch density and population fluctuations on susceptible sites. Two years of monitoring results also are reported.
ABSTRACT
Musical intervals, the elementary tonal relations of music, are thought to have widely disparate psychological effects. However, in previous empirical investigations of this proposition, effects due to musical intervals have been routinely confounded with those due to the frequencies, frequency differences, and mean frequencies of the component tones of the interval. An experimental design that can provide an unconfounded musical-interval effect was employed in the present study, in which ratings for 14 musical intervals formed at two different mean frequencies were collected from 16 subjects. Although the results indicated that certain musical intervals do indeed differ in their psychological effects, 7 of the 14 intervals were never discriminated from one another on any of the 11 rating scales, and the number of pairwise discriminations observed among intervals was considerably less than the maximum number possible. Thus, although the present results provide the first rigorous demonstration that the musical interval factor can affect verbal responding, they provide at the same time only partial support for the popular notion that each musical interval has a unique psychological effect.
