This commentary situates Neumann's research within the existing literature on musicological ontologies of the musical work as well as scholarship on the analysis of performance and recordings. The response focuses on the interdisciplinary strength of the author's method while offering a few caveats about the analytical tools used. Although Neumann ventures into an under-explored territory (i.e. the analysis of operatic voices), I urge the author not to isolate this analysis from other elements of performance, including both visual content and listening experience

中文翻译：

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诺伊曼的“现象，政治和表演分析：大都会歌剧院的图兰朵的时态文本强调和创造性分析”评论

这篇评论把诺伊曼的研究放在了有关音乐作品的音乐本体论的现有文献中，以及关于表演和录音分析的奖学金。回应侧重于作者方法的跨学科优势，同时提供了一些有关所用分析工具的警告。尽管诺伊曼（Neumann）涉足探索不足的领域（例如，对歌剧声音的分析），但我还是敦促作者不要将此分析与表演的其他要素（包括视觉内容和聆听体验）隔离开