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The TLS 1.0 encryption protocol is disabled across the University's web services. Disabling TLS 1.0 prevents it from being used to access Warwick websites via an insecure web browser or application. We've made this change to keep the University's websites safe and secure.
What do I need to do?
When accessing websites using a web browser, ensure you use the latest available version of the browser – whether that is Internet Explorer, Google Chrome, Mozilla Firefox, Safari or another browser. Using the latest version keeps you safe online because you're using the most up-to-date security settings.
Why is this happening?
Although TLS 1.0, when configured properly, has no known security vulnerabilities, newer protocols are designed better to address the potential for new vulnerabilities.
The PCI Data Security Standard 3.1 recommends disabling “early TLS”:
“SSL and early TLS are not considered strong cryptography and cannot be used as a security control after June 30, 2016 [without a mitigation strategy for disabling it before June 2018].
The best response is to disable SSL entirely and migrate to a more modern encryption protocol, which at the time of publication is a minimum of TLS v1.1, although entities are strongly encouraged to consider TLS v1.2.”
We need to be PCI-compliant to take online payments at the University. It is not sufficient to merely disable TLS 1.0 on our transaction tracking system as the requirement extends to any system that initiates a payment, including car parking, printer credits, the Warwick website, etc.
Among the madrigals in Book 9, this one marks a return to the lyrical, tragic pastoral manner that Marenzio was the master of. Some of the most remarkable passages occur right at the start. Here the highest line sings what are in effect a series of inverted pedal tones: a line rising in half notes through, and eventually above, a lacy imitative texture for which it provides a stable harmonic reference point. Just as it reaches the heights of the climb, the other voices join rhythmically in an exquisite passage of purely chordal writing. We can hear that the Baroque age will soon be in bloom.
The following section of imitation brings the music towards a point of exuberance, with rattling rhythms and an inevitable upwards pull. The cadence of the section is delicately sung by the top two voices alone, in the upper part of their range, while the rest simultaneously begins the next section; the whole returns decisively to its aristocratic, melancholy calm as an elegant bird to roost.
Sometimes prosaic in its thematic content, the madrigal is yet made deeply touching by the light chromatic flavorings that pervade it, although it is only moderately dissonant at most. If comparisons need be made, then we must admit that this is one of Marenzio's most thoroughly eloquent madrigals.