The author implies that late-eighteenth-century opera differs from contemporary film music

A．relied more heavily on gender codes in fashion at the time of its composition than does contemporary film music

B．contain gender affects incipiently, whereas contemporary film music contains them in a more salient form

C．evidences a deeper "practical consciousness" of how musical expression works than contemporary film music does

D．tends neither to enact nor resist the gender constructions which have traditionally applied to the sonata form

E．provides a more critically accessible framework for mapping gender codes than contemporary film music does