The author regards the idea that gendering stems from a composer’s "practical consciousness" of how musical expression works with

(A) tends to deny that some kind of contrast between masculinity and femininity will inevitably exist in any music
(B) employs social values to account for the aesthetic choices involved a piece’s composition more efficiently than the theory advocated by the author
(C) re-inscribes models of gender difference for the most part identical to those it seeks to critique
(D) pays closer attention to avant-garde music that may form the model for non- gendered musical forms
(E) carries assumptions that for the basis of a more politically responsible strategy for criticizing the gendering of music

A、 Has the theory of musical codes inherent to musical composition allowed us to incorporate cultural contexts in criticism
B、 Does the notion that gender metaphors are functions of interpretational frameworks carry any shortcomings
C、 Does McClary’s theory of the immanence of gender in musical codes carry any sort of risk
D、 What are the substantive differences between the ways that Roman and Gregorian musical chants employ gender codes
E、 In which musical forms, besides late-nineteenth-century-opera, has gender difference in musical codes been observed