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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.
Which of the following is the most appropriate title for the passage?
A. "Competing Views on the Necessity of Historical Knowledge for Inspired Musical Tradition"
B. "How Far Should Early Music Extend?"
C. "Unannotated Performing Traditions of the Eighteenth and Twentieth Centuries"
D. "Performance Practice and New Interpretations of the Viennese Classics"
E. "Performance Practice: The Legacy of the German Collegium Musicum"
Answer: B
Explanation:
Explanation/Reference:
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. Choice D.
reflects the author's primary concern as well as embracing the controversy.
NEW QUESTION: 2
What happens when you attempt to compile and run the following code?
#include <set>
#include <iostream>
#include <algorithm>
using namespace std;
class B { int val;
public:
B(int v):val(v){}
int getV() const {return val;} bool operator < (const B & v) const { return val<v.val;} }; ostream & operator <<(ostream & out, const B & v) { out<<v.getV(); return out;} template<class T>struct Out {
ostream & out;
Out(ostream & o): out(o){}
void operator() (const T & val ) { out<<val<<" "; } };
int main() {
int t[]={8, 10, 5, 1, 4, 6, 2, 7, 9, 3};
set<B> s1(t, t+10);
sort(s1.begin(), s1.end());
for_each(s1.begin(), s1.end(), Out<B>(cout));cout<<endl;
return 0;
}
Program outputs:
A. compilation error
B. 10 9 8 7 6 5 4 3 2 1
C. 1 2 3 4 5 6 7 8 9 10
D. 8 10 5 1 4 6 2 7 9 3
Answer: A
NEW QUESTION: 3
A. Option B
B. Option A
C. Option C
D. Option D
Answer: A
Explanation:
Explanation
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