The passage supplies information for answering all of the following questions EXCEPT
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？