Objects come in all sorts of shapes, sizes and forms. The notion of musical works as objects, represented by their written scores, has proved to be effete and limiting to the study of music as diverse social-cultural practice and performed craft. The past two decades have witnessed considerable efforts to renew conceptual and methodological tools, and Neumann's study makes a valuable contribution to this effect. This commentary responds to some issues raised by Neumann's article in relation to the notion of musical "object". Specifically, I retrace the shift from a score-based to a process-oriented musicology geared towards performances, placing the concerns of contemporary opera studies within this broader disciplinary change. I consider some implications of technology in mediating new operatic objects for discourse. Finally, I reflect on some of the inherent dangers of objectifying performance in empirical analyses.

中文翻译：

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重新想象歌剧的“客体”：评诺伊曼的现象，诗歌和表演特征：大都会歌剧院图兰朵的时态文本强调和创作过程分析

对象具有各种形状，大小和形式。音乐作品作为对象的概念，用其书面分数来表示，已被证明是有效的，并且限制了音乐作为一种多样的社会文化实践和表演手法的研究。在过去的二十年中，目睹了更新概念和方法论工具的巨大努力，Neumann的研究为这种效果做出了宝贵的贡献。这篇评论回应了诺伊曼（Neumann）的文章提出的有关音乐“客体”概念的一些问题。具体来说，我回顾了从基于乐谱的转变到面向表演的面向过程的音乐学的转变，将当代歌剧研究的关注点放在了更广泛的学科变化之内。我考虑了技术在调解新的话语对象以进行话语中的一些含义。最后，