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NEW QUESTION: 1
The origin of the attempt to distinguish early from modern music and to establish the canons of performance practice for each lies in the eighteenth century. In the first half of that century, when Telemann and Bach ran the collegium musicum in Leipzig, Germany, they performed their own and other modern music. In the German universities of the early twentieth century, however, the reconstituted collegium musicum devoted itself to performing music from the centuries before the beginning of the
"standard repertory," by which was understood music from before the time of Bach and Handel. Alongside this modern collegium musicum, German musicologists developed the historical sub-discipline known as
"performance practice," which included the deciphering of obsolete musical notation and its transcription into modern notation, the study of obsolete instruments, and the re-establishment of lost oral traditions associated with those forgotten repertories. The cutoff date for this study was understood to be around
1750, the year of Bach's death, since the music of Bach, Handel, Telemann and their contemporaries did call for obsolete instruments and voices and unannotated performing traditions - for instance, the spontaneous realization of vocal and instrumental melodic ornamentation. Furthermore, with a few exceptions, late baroque music had ceased to be performed for nearly a century, and the orally transmitted performing traditions associated with it were forgotten as a result. In contrast, the notation in the music of Haydn and Mozart from the second half of the eighteenth century was more complete than in the earlier styles, and the instruments seemed familiar, so no "special" knowledge appeared necessary. Also, the music of Haydn and Mozart, having never ceased to be performed, had maintained some kind of oral tradition of performance practice. Beginning around 1960, however, early-music performers began to encroach upon the music of Haydn, Mozart, and Beethoven. Why? Scholars studying performance practice had discovered that the living oral traditions associated with the Viennese classics frequently could not be traced to the eighteenth century and that there were nearly as many performance mysteries to solve for music after 1750 as for earlier repertories. Furthermore, more and more young singers and instrumentalists became attracted to early music, and as many of them graduated from student- amateur to professional status, the technical level of early-music performances took a giant leap forward. As professional early-music groups, building on these developments, expanded their repertories to include later music, the mainstream protested vehemently. The differences between the two camps extended beyond the question of which instruments to use to the more critical matter of style and delivery. At the heart of their disagreement is whether historical knowledge about performing traditions is a prerequisite for proper interpretation of music or whether it merely creates an obstacle to inspired musical tradition.
It can be inferred from the passage that the "standard repertory" mentioned in line 15 might have included music that was written
A. during the early twentieth century
B. before the time of Handel
C. before 1700
D. by the performance-practice composers
E. to be played using obsolete instruments
Answer: E
Explanation:
Explanation/Reference:
Explanation:
It is reasonably inferable from the first paragraph as a whole that the "standard repertory" mentioned in line
15 refers to the music of Bach and Telemann as well as to other ("modern") music from their time (first half of the eighteenth century). In the second paragraph, the author mentions that the music of Bach, Telemann, and their contemporaries called for obsolete instruments. Thus, the standard repertory might have included music that called for the use of obsolete instruments, as choice E indicates.

NEW QUESTION: 2
You are extending 1000 MHz video service from your existing headend to a new equipment room (ER). Your existing incoming video signal is plus (+) 15 dBmV. You have three two-way splitters with a total of minus (-) 15 dB. You are adding 122 m (400 ft) of series 11 (RG 11) cable with a minus (-) 18 dB with eight single end F-connectors with a total of minus (-) 1.2 dB. From the selections below, what is the MINIMUM gain amplifier required in the headend room?
A. Plus (+) 30 dB
B. Plus (+) 20 dB
C. Plus (+) 25 dB
D. Plus (+) 15 dB
E. Plus (+) 35 dB
Answer: D
Explanation:
Topic 4, Work Areas

NEW QUESTION: 3
웹 사이트에서 고객의 클릭 스트림 데이터를 분석하여 행동 분석을 수행 할 수 있어야 합니다. 고객은 고객이 클릭 한 일련의 페이지 및 광고를 알아야 합니다. 이 데이터는 실시간으로 사용되어 고객이 사이트를 클릭 할 때 페이지 레이아웃을 수정하여 끈적 거리거나 광고를 클릭하는 횟수를 늘립니다. 어떤 옵션이이 데이터 캡션 및 분석 요구 사항을 충족합니까?
A. 세션별로 웹 클릭을 Amazon SQS 대기열에 게시합니다. 남성은 주기적으로 이러한 이벤트를 Amazon RDS로 배출하고 sol
B. 클릭 이벤트를 Amazon Redshift에 직접 작성한 다음 SQL로 분석하십시오.
C. 웹 스토어에서 URL 스토어를 통해 Amazon S3로 클릭 한 다음 Elastic MapReduce로 분석합니다.
D. 세션별로 웹 클릭을 Amazon Kinesis로 푸시하고 Kinesis 작업자를 사용하여 동작을 분석합니다.
Answer: D
Explanation:
참조 : http://www.slideshare.net/AmazonWebServices/aws-webcast-introduction-toamazon-kinesis

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