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Exam Code: C-TS410-1909-Deutsch

Exam Name: SAP Certified Application Associate - Business Process Integration with SAP S/4HANA 1909 (C_TS410_1909 Deutsch Version)

Certification Provider: SAP

Related Certification: SAP Certified Application Associate - Business Process Integration with SAP S/4HANA 1909 (C_TS410_1909 Deutsch Version)

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NEW QUESTION: 1
VM1とVM2という名前の2つのAzure仮想マシンがあります。 VM1には、Disk1という名前の単一のデータディスクがあります。 Disk1をVM2に接続する必要があります。このソリューションでは、両方の仮想マシンのダウンタイムを最小限に抑える必要があります。
どの4つのアクションを順番に実行する必要がありますか?回答するには、適切なアクションをアクションのリストから回答エリアに移動し、正しい順序に並べます。

Answer:
Explanation:

Explanation

Step 1: Stop VM1.
Step 2: Detach Disk1 from VM1.
Step 3: Start VM1.
Detach a data disk using the portal
* In the left menu, select Virtual Machines.
* Select the virtual machine that has the data disk you want to detach and click Stop to deallocate the VM.
* In the virtual machine pane, select Disks.
* At the top of the Disks pane, select Edit.
* In the Disks pane, to the far right of the data disk that you would like to detach, click the Detach button image detach button.
* After the disk has been removed, click Save on the top of the pane.
* In the virtual machine pane, click Overview and then click the Start button at the top of the pane to restart the VM.
* The disk stays in storage but is no longer attached to a virtual machine.
Step 4: Attach Disk1 to VM2
Attach an existing disk
Follow these steps to reattach an existing available data disk to a running VM.
* Select a running VM for which you want to reattach a data disk.
* From the menu on the left, select Disks.
* Select Attach existing to attach an available data disk to the VM.
* From the Attach existing disk pane, select OK.
References:
https://docs.microsoft.com/en-us/azure/virtual-machines/windows/detach-disk
https://docs.microsoft.com/en-us/azure/lab-services/devtest-lab-attach-detach-data-disk

NEW QUESTION: 2
A customer has three IBM DS8886 systems at a production site mirrored to three corresponding and appropriately sized IBM DS8886 systems at a remote site located 750 kilometers away. The customer desires a consistency group that spans all three systems and a low RPO.
Which replication method should the technical specialist recommend?
A. Metro Mirror
B. Multiple Target Peer-to-Peer Remote Copy
C. Metro/Global Mirror
D. Global Mirror
Answer: D

NEW QUESTION: 3
Your network contains an Active Directory domain named contoso.com.
You need to view a list of all the domain user accounts that are enabled. But whose users have not signed in during the last 30 days.
Which command should you run? To answer, select the appropriate options in the answer area.
NOTE: Each correct selection is worth one point.

Answer:
Explanation:

Explanation


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. transcribing older music into modern notation
B. reestablishing unannotated performing traditions
C. spontaneous vocal and instrumental ornamentation
D. deciphering outdated music 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.


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