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Which choice best explains the function of the reference to acoustic recordings from the 1890s in the text?

For decades, performance scholars treated nineteenth-century musical treatises as faithful records of orchestral practice, inferring that conductors strictly maintained the metronomic tempos urged in print. However, recent signal-processing analyses of acoustic recordings from the 1890s have complicated this assumption by documenting pervasive, unnotated tempo fluctuations (rubato) that diverge markedly from the treatises' rigid strictures. Rather than prompting musicologists to discard the treatises as fabricated ideals, these auditory artifacts have spurred a reinterpretation of the written texts: the treatises were not descriptive accounts of prevailing norms, but prescriptive polemics meant to curb an existing, freewheeling performance tradition. Thus, the recordings illuminate the unwritten conventions against which the written rules were formulated.

Which choice best explains the function of the reference to acoustic recordings from the 1890s in the text?

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