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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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King Louis XVI and Queen Marie Antoinette ruled France from 1774 to 1789, a time when the country was fighting bankruptcy. The royal couple did not let France's insecure financial situation limit their immoderate spending, however. Even though the minister of finance repeatedly warned the king and queen against wasting money, they continued to spend great fortunes on their personal pleasure. This lavish spending greatly enraged the people of France. They felt that the royal couple bought its luxurious lifestyle at the poor peopIe's expense. Marie Antoinette, the beautiful but exceedingly impractical queen, seemed uncaring about her subjects; misery. While French citizens begged for lower taxes, the queen embellished her palace with extravagant works of art. She also surrounded herself with artists, writers, and musicians, who encouraged the queen to spend money even more profusely. While the queen's favorites glutted themselves on huge feasts at the royal table, many people in France were starving. The French government taxed the citizens outrageously. These high taxes paid for the entertainments the queen and her court so enjoyed. When the minister of finance tried to stop these royal spendthrifts, the queen replaced him. The intense hatred that the people felt for Louis XVI and Nlarie Antoinette kept building until it led to the French Revolution. During this time of struggle and violence (1789-1799), thousands of aristocrats, as well as the king and queen themselves, lost their lives at the guillotine. Perhaps if Louis XVI and Marie Antoinette had reined in their extravagant spending, the events that rocked France would not have occurred. The minister of finance tried to curb these royal _.

To marine biologists, the giant squid is especially , as it has never been seen alive, making it virtually impossible to study in its natural habitat.