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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 IV|ozart from the second half of the eighteenth century was more complete than in the earlier styles, and the instruments seemed familiar, so no "speciaI" 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 lMng 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

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The main advantage of inertial guidance systems in modern aircraft, spacecraft, and submarines is that they are and are able to function without data.

SaIinger’s Catcher in the Rye, having become a manifesto for psychopaths and potential miscreants, is viewed by many high-school administrators as too to be suitable for teenage students.