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NEW QUESTION: 1
HOTSPOT
Your network contains an Active Directory domain named contoso.com. The domain contains two servers named Server1 and Server2 that run Windows Server 2016.
Server1 has IP Address Management (IPAM) installed. Server2 has the DHCP Server role installed. The IPAM server retrieves data from Server2.
You create a domain user account named User1.
You need to ensure that User1 can use IPAM to manage DHCP.
Which command should you run on Server1? To answer, select the appropriate options in the answer area.
Hot Area:

Answer:
Explanation:

NEW QUESTION: 2
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. before 1700
C. before the time of Handel
D. during the early twentieth century
E. by the performance-practice composers
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.

NEW QUESTION: 3
Your network contains multiple subnets.
On one of the subnets, you deploy a server named Server1 that runs Windows Server 2012 R2.
You install the DNS Server server role on Server1, and then you create a standard primary zone named contoso.com.
You need to ensure that client computers can resolve single-label names to IP addresses.
What should you do first?
A. Convert the contoso.com zone to an Active Directory-integrated zone.
B. Create a reverse lookup zone.
C. Create a GlobalNames zone.
D. Configure dynamic updates for contoso.com.
Answer: A
Explanation:
Explanation
Although a GlobalNames zone is required in order to resolve single-label names, GNZs must be AD-integrated.
Since this is a standard primary zone (as opposed to an ADDS primary zone), we must first integrate the zone into Active Directory.
References:
Exam Ref: 70-410: Installing and Configuring Windows Server 2012 R2, Chapter4: Deploying and configuring core network services, Objective 4.3: Deploy and Configure the DNS service, p.233
http://technet.microsoft.com/en-us/library/cc731744.aspx

NEW QUESTION: 4
You have a server named Server1 that runs Windows Server 2012 R2.
You install the Windows Assessment and Deployment Kit (Windows ADK) and the Microsoft Deployment Toolkit (MDT) 2013 on Server1.
You need to create a standard client task sequence from the Deployment Workbench.
What should you do first?
A. Create a Customsettings.ini file.
B. Configure a deployment share.
C. Import an operating system package.
D. Add an operating system.
Answer: B
Explanation:
References: https://technet.microsoft.com/en-us/library/dn781086.aspx

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