Question: The primacy of the composer's written score has also led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries. During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time.
Is there an answer to this question: When was improvisation in classical music performance common?

Answer: the Baroque and early romantic eras

Question: One of the primary elements of the culture of the Enlightenment was the rise of the public sphere, a "realm of communication marked by new arenas of debate, more open and accessible forms of urban public space and sociability, and an explosion of print culture," in the late 17th century and 18th century. Elements of the public sphere included: it was egalitarian, it discussed the domain of "common concern," and argument was founded on reason. Habermas uses the term "common concern" to describe those areas of political/social knowledge and discussion that were previously the exclusive territory of the state and religious authorities, now open to critical examination by the public sphere. The values of this bourgeois public sphere included holding reason to be supreme, considering everything to be open to criticism (the public sphere is critical), and the opposition of secrecy of all sorts.
Is there an answer to this question: How was the public sphere defined?

Answer: realm of communication marked by new arenas of debate, more open and accessible forms of urban public space and sociability, and an explosion of print culture

Question: Boston is surrounded by the "Greater Boston" region and is contiguously bordered by the cities and towns of Winthrop, Revere, Chelsea, Everett, Somerville, Cambridge, Newton, Brookline, Needham, Dedham, Canton, Milton, and Quincy. The Charles River separates Boston from Watertown and the majority of Cambridge, and the mass of Boston from its own Charlestown neighborhood. To the east lie Boston Harbor and the Boston Harbor Islands National Recreation Area (which includes part of the city's territory, specifically Calf Island, Gallops Island, Great Brewster Island, Green Island, Little Brewster Island, Little Calf Island, Long Island, Lovells Island, Middle Brewster Island, Nixes Mate, Outer Brewster Island, Rainsford Island, Shag Rocks, Spectacle Island, The Graves, and Thompson Island). The Neponset River forms the boundary between Boston's southern neighborhoods and the city of Quincy and the town of Milton. The Mystic River separates Charlestown from Chelsea and Everett, and Chelsea Creek and Boston Harbor separate East Boston from Boston proper.
Is there an answer to this question: What direction from Boston is Boston Harbor?

Answer: To the east

Question: Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s. Drawing inspiration from elements of punk rock while departing from its musical conventions and wider cultural affiliations, post-punk music was marked by varied, experimentalist sensibilities and its "conceptual assault" on rock tradition. Artists embraced electronic music, black dance styles and the avant-garde, as well as novel recording technology and production techniques. The movement also saw the frequent intersection of music with art and politics, as artists liberally drew on sources such as critical theory, cinema, performance art and modernist literature. Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music.
Is there an answer to this question: How did Post-Punk take on Punk music?

Answer:
unanswerable