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NEW QUESTION: 1
ビジネスに不可欠なWebサーバーが侵害された場合、ITセキュリティ部門は最初に次のことを行う必要があります。
A. 必要に応じて法務部および/または規制当局に通知します。
B. ログを証拠としてアーカイブします。
C. インシデントの管理を助言します。
D. サーバーの稼働を維持するために、損傷の修復を試みます。
Answer: C

NEW QUESTION: 2
Which option is supported when configuring a VACL?
A. Log of traffic that is matched by a VACL by using a MAC ACL.
B. Redirect to a SPAN destination port
C. Access map entry that uses an IP or MAC ACL
D. Egress VACL that contains decapsulated VXCLAN traffic.
Answer: C

NEW QUESTION: 3
Click the Exhibit button


An operator is unable to establish any IS-IS adjacencies on a router in the network.
Based on the configuration shown in the exhibit, what is the problem?
A. The IS-IS level for an each interface must be specified
B. Interface loO must be configured in the IS-IS hierarchy
C. Each network interface needs a unique family ISO address
D. The ISO address for interface loO is not in hex format
Answer: B

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.
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:
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, choiceD.is unsupported by the passage.