Dear All,

Here I enclose the PDF file of our project proposal. I don't really want you to "check it up," as a mail recipient is usually invited to do when there are enclosures to the mail. The file may expose my incompetence, ignorance, and sloppiness as a scholar. The reason why I still send the project proposal to you is that its merits lie in the booklists you prepared and the descriptions you write for them. As I said in my previous mail, I earnestly pray that this proposal get the approval of National Science Council-more earnestly than I wish the approval of my own research project proposal. I also believe that our proposal stand some chance. However, if this proposal is unfortunately rejected, the blame is definitely on me. 

When writing this proposal, I took a bold strategy: I tried to turn our disadvantages into our advantages; more specifically, I tried to tum our weakness into potential or room for improvement-through implementing the book acquisition project. One thing I kept harping on in the proposal is a research group organized among us around the DDA (Disease, Disaster, Apocalypse) topic. At least for me, this is not another tall tale an applicant for NSC grant tells to get the money. I truly believe in the possibility of such a group-based on my observation of our interactions during the preparation for the proposal. We may take a step closer to the realization of the possibility if the proposal gets approved. 

Here I also enclose the general booklist I turn in with the project proposal. I explained in the proposal why I listed much more entries than required in the booklist. I assure you that we can provide much more titles. Most teams that have ever done the book acquisition projects encounter the difficulty of not fmding enough titles to buy. I don't think this problem will ever happen to us if we can obtain the approval. 

Last but not least, thank you very much for your contribution to the project proposal. 

Sincerely yours, 

Joseph Lee Primary 

Project Investigator

        Naturally the audiences that support various kinds of music are not identical. There are separate audiences, of widely differing tastes and musical receptivity, for opera, symphony, and chamber music. The oratorio audience is a very special group made up of the most conservative tastes and opinions. One suspects that it is recruited largely from friends and families of the singers Now a stage full of happy and earnest oratorio singers must represent considerable potential ticket sales, and if this is true, it does not make much difference what work the singers select to perform. Anyone who has ever sung in a chorus knows what fun it is lo sing Handel. Thus music is easy to grasp, fits the voice well, and fine effects are achieved with a minimum of professional skill. The plan of the Handel oratorio is ideal for the ordinary amateur singing group. All the hard parts are taken by professional soloists, who can be imported for the occasion. Therefore the chorus can make a public appearance after long, leisurely preparation and add on at the last moment the final professional touches. Thus the never-ending vogue of the oratorio and its unchanging aspect must be attributed, at least partially, to the amateur choral societies that are to be found in almost every community.

Choose the letter of the underlined part that is NOT correct in usage.