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NEW QUESTION: 1
Exhibit:
You have a Layer 3 VPN established between PE-1 and PE-2 as well as between PE-1 and PE-3. You are using a route reflector (RR-1) to distribute VPN routes to your IBGP peers. You are asked to ensure that only relevant routes are sent from RR-1 to each of the PE routers.
Referring to the exhibit, which statement is correct?
A. You should use firewall filtering on RR-1 and all the PE devices to control which routes are sent to each PE router.
B. You should use VRF export policies on RR-1 to control which routes are sent to each PE router.
C. You should use route target filtering on RR-1 and all the PE devices to control which routes are sent to each PE router.
D. You should use route target filtering only on RR-1 to control which routes are sent to each PE router.
Answer: D
NEW QUESTION: 2
Which of the following is MOST effective in continuous risk management process improvement?
A. Policy updates
B. Change management
C. Awareness training
D. Periodic assessments
Answer: C
NEW QUESTION: 3
HPE管理ツールを機能に一致させます。
Answer:
Explanation:
NEW QUESTION: 4
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
1 750, 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.
Which of the following is the most appropriate title for the passage?
A. "How Far Should Early Music Extend?"
B. "Performance Practice: The Legacy of the German Collegium Musicum"
C. "Competing Views on the Necessity of Historical Knowledge for Inspired Musical Tradition"
D. "Performance Practice and New Interpretations of the Viennese Classics"
E. "Unannotated Performing Traditions of the Eighteenth and Twentieth Centuries"
Answer: A
Explanation:
The author's primary concern in the passage is to trace the scope of works included in
performance practice from the early twentieth century to the latter half of the century. The author identifies
and explains the reasons for the trend of including later works within the scope of socalled "early music"
(second and third paragraphs), then refers (in the final paragraph) to a controversy surrounding this trend.
ChoiceD.reflects the author's primary concern as well as embracing the controversy.