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NEW QUESTION: 1
アジャイルプロジェクトでは、計画が3つの異なる地平線で行われる手法は次のように知られています。
A. ポートフォリオ管理。
B. モンテカルロ分析。
C. DelphiTechnique。
D. プログレッシブエラボレーション。
Answer: D
NEW QUESTION: 2
別のスポークの背後に存在するネットワークのスポークからNHRP解決要求を受信すると、ハブはどのようなアクションを実行しますか？
A. ハブは要求を宛先スポークに転送します。
B. ハブは独自のNHRPマッピングを更新します。
C. ハブは、両方のスポークに応答できるように、2番目のスポークが要求を送信するのを待ちます。
D. ハブは、要求しているスポークに解決応答を送り返します。
Answer: A
NEW QUESTION: 3
In strongly territorial birds such as the indigo bunting, song is the main mechanism for securing g, defining, and defending an adequate breeding are. When population density is high, only the strongest males can retain a suitable area. The weakest males do not breed or are forced to nest on poor or marginal territories.
During the breeding season, the male indigo bunting sings in his territory; each song lasts two or three seconds with a very short pause between songs, Melodic and rhythmic characteristics are produced by rapid changes in sound frequency and some regularity of silent periods between sounds. These modulated sounds form recognizable units, called figures, each of which is reproduced again and again with remarkable consistency. Despite the large frequency range of these sounds and the rapid frequency changes that the birds makes, the n umber of figures is very limited. Further, although we found some unique figures in different geographical populations, more than 90 percent of all Indigo bunting figures are extremely stable on the geographic basis . In our studies of isolated buntings we found that male indigo buntings are capable of singing many more types of figures than they usually do. Thus, it would seem that they copy their figures from other buntings they hear signing.
Realizing that the ability to distinguish the songs of one species from those of another could be an important factor in the volition of the figures, we tested species recognition of a song. When we played a tape recording of a lazuli bunting or a painted bunting, male indigo bunting did not respond; Even when a dummy of male indigo bunting was placed near the tape recorder. Playing an indigo bunting song, however, usually brought an immediate response, making it clear that a male indigo bunting can readily distinguished songs of its own species from those of other species.
The role of the songs figures in interspecies recognition was then examined. We created experimental songs composed of new figures by playing a normal song backwards, which changed the detailed forms of the figures without altering frequency ranges or gross temporal features. Since the male indigos gave almost a full response to the backward song, we concluded that a wide range of figures shapes can evoke positive responses. It seems likely, therefore, that a specific configuration is not essential for interspecies recognition, but it is clear that song figures must confirm to a particular frequency range, must be within narrow limits of duration, and must be spaced at particular intervals.
There is evident that new figures may arise within a population through a slow process of change and selection. This variety is probably a valuable adaptation for survival: if every bird sang only a few types of figures, in dense woods or underbrush a female might have difficulty recognizing her mate's song and a male might not be able to distinguished a neighbor from a stranger. Our studies led us to conclude that there must be a balance between song stability and conservatism, which lead to clear-cut species recognition, and song variation, which leads to individual recognition.
According to the passage, which of the following is true about the number and general nature of figures sung by the indigo bunting?
A. The gradually develop through contact with prospective mates
B. They are learned from other indigo buntings.
C. They are established at birth
D. They evolve slowly as the bird learns
E. They develop after the bird has been forced onto marginal breeding areas.
Answer: B
Explanation:
Explanation/Reference:
Explanation: