16. Edwina: True appreciation of Mozartâ€™s music demands that you hear it exactly as he intended it to be heard; that is, exactly as he heard it. Since he heard it on eighteenth-century instruments, it follows that so should we.
Alberto: But what makes you think that Mozart ever heard his music played as he had intended it to be played? After all, Mozart was writing at a time when the performer was expected, as a matter of course, not just to interpret but to modify the written score.
Alberto adopts which one of the following strategies in criticizing Edwinaâ€™s position?
(A) He appeals to an academic authority in order to challenge the factual basis of her conclusion.
(B) He attacks her judgment by suggesting that she does not recognize the importance of the performerâ€™s creativity to the audienceâ€™s appreciation of a musical composition.
(C) He defends a competing view of musical authenticity.
(D) He attacks the logic of her argument by suggesting that the conclusion she draws does not follow from the premises she sets forth.
(E) He offers a reason to believe that one of the premises of her argument is false.