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NEW QUESTION: 1
BCP (Best Common Practices) 38/RFC 2827 Ingress and Egress Packet Filtering would help mitigate what classification of attack?
A. Denial of service attack
B. Reconnaisance attack
C. Port Scan attack
D. Sniffing attack
E. Spoofing attack
Answer: E
Explanation:
6. Summary
Ingress traffic filtering at the periphery of Internet connected networks will reduce the effectiveness of source address spoofing denial of service attacks. Network service providers and administrators have already begun implementing this type of filtering on periphery routers, and it is recommended that all service providers do so as soon as possible. In addition to aiding the Internet community as a whole to defeat this attack method, it can also assist service providers in locating the source of the attack if service providers can categorically demonstrate that their network already has ingress filtering in place on customer links. Corporate network administrators should implement filtering to ensure their corporate networks are not the source of such problems. Indeed, filtering could be used within an organization to ensure users do not cause problems by improperly attaching systems to the wrong networks. The filtering could also, in practice, block a disgruntled employee from anonymous attacks. It is the responsibility of all network administrators to ensure they do not become the unwitting source of an attack of this nature.

NEW QUESTION: 2
What two new features are introduced with virtual machine compatibility version 13? (Choose two.)
A. Virtual NVMe
B. Virtual Memory maximum 6128 GB
C. IDE hot plug support
D. VMXNET 4
Answer: A,B

NEW QUESTION: 3
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.
The passage mentions all of the following as aspects of performance practice of the early twentieth century EXCEPT for
A. spontaneous vocal and instrumental ornamentation
B. deciphering outdated music notation
C. reestablishing unannotated performing traditions
D. transcribing older music into modern notation
E. varying the delivery of music to suit particular audiences
Answer: E
Explanation:
Explanation/Reference:
Explanation:
Although performance practice did indeed involve varying the performance of a work of music from one time to the next (by including spontaneous vocal and instrumental ornamentation), the passage neither states nor implies that how the delivery of music varied from time to time depended upon the particular tastes of the audience. Thus, choice D is unsupported by the passage.