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NEW QUESTION: 1
You maintain an existing Azure SQL Database instance. Management of the database is performed by an external party. All cryptographic keys are stored in an Azure Key Vault.
You must ensure that the external party cannot access the data in the SSN column of the Person table Will each protection method meet the requirement? To answer, drag the appropriate responses to the correct protection methods. Each response may be used once, more than once, or not at all. You may need to drag the split bar between panes or scroll to view content.
NOTE: Each correct selection is worth one point

Answer:
Explanation:

Explanation

References:
https://docs.microsoft.com/en-us/azure/security/azure-database-security-overview

NEW QUESTION: 2
Wählen Sie für jede der folgenden Aussagen Ja aus, wenn die Aussage wahr ist. Andernfalls wählen Sie Nein. HINWEIS: Jede richtige Auswahl ist einen Punkt wert.

Answer:
Explanation:

NEW QUESTION: 3
During a reconciliation process, the auto retry count is exhausted and the reconciliation engine does not process events.
How can you overcome this issue?
A. Manually retry by requesting for re-evaluation from Event Management.
B. Disable and re-enable the reconciliation task from the system admin console.
C. Setthe Retry Count for recon eventvalue to 0 and rerun the reconciliation task.
D. Delete auto retry parameters that are stored as part of the reconciliation proles, create them anew,and rerun the reconciliation task.
Answer: A

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
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. to be played using obsolete instruments
B. by the performance-practice composers
C. during the early twentieth century
D. before 1700
E. before the time of Handel
Answer: A
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.