藝術碩士真題參照答案一、單項選擇題(每題1分，共44分)1.是英國作曲家布裏頓誕辰100周年，他的著名管弦樂作品()在全世界影響廣泛。A.《青少年管弦樂隊指南》B.《仲夏夜之夢》C.《第五交響樂》D.《春之祭》2.康塔塔是17世紀前後出現的音樂體裁，巴洛克時期最偉大的康塔塔作曲家是()，他共寫了200多首康塔塔。A.亨德爾B.J.C巴赫C.海頓D.莫扎特3.民族管弦樂曲《春江花月夜》，原為琵琶曲()，1925年被改編為民樂合奏曲。A.《海青拿天鵝》B.《漁舟唱晚》C.《夕陽蕭鼓》D.《二泉映月》4.歌曲《南泥灣》創作于1943年，通過著名歌唱家()的演唱，使這首歌曲傳遍全中國。A.郭蘭英B.王玉珍C.才旦卓瑪D.宋祖英5.交響詩《牧神午後》創作于1894年，他是印象主義作曲家()的代表作。A.莫扎特B.拉威爾C.德彪西D.李斯特6.舞蹈是().A.空間的藝術B.綜合時間和空間的藝術C.瞬間的藝術D.靜態的藝術7.“來如雷霆收震怒，罷如江海凝青光”是詩人()對《劍器舞》的描述與形容。A.李群玉B.白居易C.杜甫D.王維8.芭蕾舞作品《天鵝之死》是由()創作的。A.米哈伊·福金B.列夫·伊凡諾夫C.馬裏烏斯·彼季帕D.巴蘭欽9.“伊莎多拉·鄧肯”通過研究()發明了現代舞的演出風格。A.奧托藝術B.巴洛克藝術C.古希臘藝術D.拜占廷藝術10.舞蹈編導是舞蹈作品的創作者，一般兼有()的雙重職責。A.編舞和示范B.編舞和導演C.編舞和設計D.設計構造和撰寫文本11.中國民間舞秧歌中的“大場”一般用在舞蹈的()。A.開頭和結尾B.中間穿插C.舞段銜接D.舞段轉換12.《漢堡劇評》的作者萊辛是()人。A.法國B.俄國C.英國D.德國13.江泰是曹禺先生劇本()中的人物。A.《曠野》B.《北京人》C.《雷雨》D.《曰出》14.亞裏士多德的戲劇理論著作是()。A.《詩藝》B.《詩學》C.《詩的藝術》D.《演員的矛盾》15.()不是俄國劇作家契訶夫劇作《三姐妹》中的人物。A.妮娜B.瑪莎C.葉蓮娜D.奧爾加16.《玩偶之家》是()的作品。A.尤金·奧尼爾B.席勒C.易卜生D.王爾德17.()是老舍創作的劇本。A.《龍須溝》B.《駱駝祥子》C.《我這一輩子》D.《四世同堂》18.下列人物中的()一般由老生行飾演。A.包拯B.伍子胥C.許褚D.張繼保19.梨園是()朝宮廷設置的專門訓練樂工的機構。A.清B.元C.宋D.唐20.南戲腳色的完整設置應為()。A.生、旦、凈、末、丑、外、貼B.生、旦、凈、末、丑、外C.生、旦、凈、末、丑D.生、旦、凈、丑、21.19成立于西安的秦腔改良團體是()。A.易俗社B.昆劇傳習所C.富連成社D.伶工學社22.下列劇種中，未被列入世界非物質文化遺產名目的是()。A.京劇B.昆曲C.粵劇D.秦腔23.現代的DV是指()。A.膠片影像創作B.數字影像創作C.立體影像創作D.電視影像創作24.一般公認的香港電影迄今已經有()。A.70年歷史B.80年歷史C.90年歷史D.1歷史25.電影《中國合作人》于()上映。A.B.C.D.26.故事影片《一九四二》的導演是()。A.寧浩B.張藝謀C.馮小剛D.高群書27.下列影片中由“第五代導演”創作的是()。A.《神女》B.《城南舊事》C.《一種和八個》D.《致我們終將逝去的青春》28.()屬于電視的“真人秀”節目。A.《大國崛起》B.《中國好聲音》C.《話說長江》D.《檔案》29.影視體現幻覺和夢境常使用的是()。A.平行蒙太奇B.交叉蒙太奇C.心理蒙太奇D.雜耍蒙太奇30.電視紀錄片的宗意在于()。A.新聞報道B.現場互動C.真實展現D.情景再現31.影視作品《故宮》屬于()。A.電視報道劇B.電視劇C.新聞紀錄片D.文獻專題片32.“虛擬演播室”重要用于()。A.戲曲的虛擬演出B.紀錄片的虛擬再現C.故事片的寫意特技D.主持類節目的虛擬場景33.《梨園春》的基本定位是()欄曰。A.專題B.娛樂C.戲曲D.競技34.《斷臂維納斯》是()的著名雕塑。A.古希臘B.古羅馬C.古埃及D.古印度35.《青卞隱居圖》是()的作品。A.黃公望B.王蒙C.倪雲林D.黃賓虹36.中國畫史上的“南北宗”說一般認為是由()提出的。A.王安石B.童書業C.董其昌D.俞劍華37.文同以畫()著稱。A.梅B.蘭C.竹D.菊38.《倒牛奶的女仆》是()畫家維美爾的作品。A.荷蘭B.比利時C.德國D.意犬利39.“形式服從功能”是19由()設計師路易斯·沙利文提出的。A.芬蘭B.英國C.意大利D.美國40.()是英國19世紀工藝美術運動的重要代表人物。A.馬克斯·比爾B.威廉·莫裏斯C.托馬斯·馬爾多納多D.薩爾姆·賓41.景泰藍多用銅胎，以()最為杰出，故稱為景泰藍。A.藍釉B.黃釉C.白釉D.青釉42.青銅工藝與技術是()後的又一大發明。A.造紙術B.制鐵術C.制陶術D.煉金術43.藝術設計是一種特殊的文化形態，具有()的雙重性。A.人工與機械B.個人與群體C.物質與文化D.設計與調整44.視覺傳達設計涵蓋了從()的多維空間。A.點線面到體B.二維到四維C.視覺到想象D.一維到多維二、多選題(每題2分，共16分。如下各題5個選項中，至少有2個選項對的)45.如下歌劇作品中，屬于意大利作曲家威爾弟的作品有()。A.《阿依達》B.《茶花女》C.《費加羅婚禮》D.《弄臣》E.《奧賽羅》46.中國民間舞“花鼓”又稱()。A.打花鼓B.搖花鼓C.地花鼓D.花鼓子E.轉花鼓47.法國古典主義戲劇代表人物有()。A.高乃依B.拉辛C.歌德D.萊辛E.莫裏哀48.京劇“麒派”創始人周信芳的代表劇目有()。A.《徐策跑城》B.《烏龍院》C.《四進士》D.《追韓信》E.《三岔口》49.陳凱歌導演的影片有()。A.《搜索》B.《集結號》C.《霸王別姬》D.《梅蘭芳》E.《仟裏走單騎》50.()是電視“脫口秀”欄目。A.《實話實說》B.《星光大道》C.《魯豫有約》D.《快樂大本營》E.《楊瀾訪談錄》51.到20世紀30年代末，我國已開辦有()等藝術學校。A.南京國立藝專B.上海美專C.蘇州美專D.北平國立藝專E.杭州國立藝專52.明式家俱多采用()的優質木材。A.質地堅硬B.易于加工C.色澤從容D.紋理致密E.花紋華美三、英語閱讀理解題(每題2分，共30分)Directions:Therearethreepassagesinthispart.Eachpassageisfollowedbysomequestionsorunfinishedstatements.Foreachofthemtherearefourchoicesmarked,B,CandD.Choosethebestanswertoeachquestion.Questions53to57arebasedonthefollowingpassage:TheInternetcanmakethenewsmoredemocratic,givingthepublicachancetoaskquestionsandseekoutfactsbehindstoriesandcandidates,accordingtotheheadofthelargestUSon-lineservice.‘Butthegreatestpotentialforpublicparticipationisstillinthefuture,'StevenCase,chairmanofAmericaOn-line,toldarecentmeetingonJournalismandtheInternetsponsoredbyTheFreedomForum,thoughsomeotherspeakerssaythenewtechnologyofcomputersischangingthefaceofjournalism,givingreportersaccesstomoreinformationandtheirreadersachancetoaskquestionsandturntodifferentsources.‘Youdon'thavetobuyanewspaperandbeconfinedtothefourcomersofthatpaperanymore.'SamMeddis,on-linetechnologyeditoratUSAToday,observedaboutthevarietyofinformationavailabletocomputerusers.Butthespeakersnotedtheeasyaccesstotheinternetalsomeansanyonecanpostinformationforotherstosee.‘Anyonecansayanythingtheywant,whetherit'srightorwrong.'saidCase.Readershavetodetermineforthemselveswhototrust.'Inaworldofalmostinfinitevoices,respectedjournalistsandrespectedbrandnameswillprobablybecomemoreimportant,notless,'Casesaid.‘Theinternettodayisaboutwhereradiowas80yearsago,ortelevision50yearsagoorcable25yearsago,'hesaid.Butitisgrowingrapidlybecauseitprovidespeoplefastaccesstonewsandachancetocommentonit.53.ThemaintopicofthispassageisA.thedevelopmentofjournalismB.theeffectoftheinternethasonjournalismC.therapiddevelopmentoftheinternetD.theadvantagesoftheinternet54.ItcanbeinferredfromthispassagethatmayNOTberegardedastheadvantagesoftheinternet.A.thenewscanbemademoredemocraticB.anythingcanbepostedontheinternetforotherstoseeC.thepubliccanturntodifferentsourcesD.thepubliccangetachancetoaskquestions55.Thecorrectorderfortheappearanceofthefourtechnologiesis_.A.internet-cable-television-radioB.radio-cable-television-internetC.radio-television-cable-internetD.television-radio-cable-internet56.Whichofthefollowingstatementsistrue?A.Onlyrespectedjournalistscanpostinformationontheinternetforotherstosee.B.Respectedjournalistswillprobablybecomemoreimportantthanbefore.C.Whenpeoplereadnewspapers,theyhavetostayinthecomersofthestreet.D.Thegreatestpotentialofpublicparticipationoftheinternetisinthenearfuture.57.Onthewhole,theattitudeStevenCaseholdsfortheinternet'sfuturedevelopmentisA.pessimisticB.unknownC.doubtfulD.optimisticQuestions58to62arebasedonthefollowingpassage:InthepastcenturyIrishpaintinghaschangesfromaBritish-influencedlyricaltraditiontoanartthatevokestheruggedness(樸實)androotsofanIrishCelticpast.AttheturnofthetwentiethcenturyIrishpainters,includingnotablesWalterFrederickOsborneandSirWilliamOrpen,lookedelsewhereforinfluence.Osborne'sexposureto‘plainair’paintingdeeplyimpactedhisstylisticdevelopment;andOrpenalliedhimselfwithagroupofEnglishartists,whileatthesametimeparticipatedintheFrenchavant-gardeexperiment,bothaspainterandteacher.However,nationalistenergieswerebeginningtocoalesce(接合),revivinginterestinIrishculture-includingIrishvisualarts.BeatriceElvery’s(1907),alandmarkachievement,mergedthedevotionalsimplicityoffifteenth-centuryItalianpaintingwiththeiconography(圖像學)ofIreland'sCelticpast,linkingthehistoryofIrishCatholicismwiththestill-nascent(初生的)Irishrepublic.And,althoughalsocaptivatedbytheFrenchplainairschool.SirJohnLaveryinvokedthemythologyofhisnativelandfora1928commissiontopaintthecentralfigureforthebanknoteofthenewIrishFreeState.Laverychoseasthisfigure,withherarmonaCelticharp(豎琴),thenationalsymbolofindependentIreland.InIrishpaintingfromabout1910,memoriesofEdwardianromanticismcoexistedwithanewsenseofrealism,exemplifiedbythepaintingsofPaulHenryandSeKeating,astudentofOrpen's.RealismalsocreptintotheworkofEdwardiansLaveryandOrpen,bothofwhommadepaintingsdepictingWorldWarI,LaverywithadistancedVictoriannobility,Orpenclosertothefront,revealingamoresinisterandrealisticvision.Meanwhile,counterpoint(對照)totheEdwardiansandrealistscameJackB.Yeats，whosetravelsthroughouttheruggedandmoreauthenticallyIrishWestledhimtodepictsubjectsrangingfromstreetscenesinDublintoboxingmatchesandfunerals.FusingcloseobservationsofIrishlifeandiconswithanIrishidentityinanewway,YeatschangedthefaceofIrishpaintingandbecamethemostimportantIrishartistofhiscentury.58.WhichofthefollowingartmostprobablyexertedthegreatestinfluenceonIrishpaintinginthe19thcentury?A.BritishlyricaltraditionB.Frenchavant-gardeexperimentC.nationalistenergiesD.Italianpainting59.ItisimpliedwasleastinfluencedbythecontemporaryartofFrance.A.SirJohnLaveryB.SirWilliamOrpenC.BeatriceElveryD.SeKeating60.Whichofthefollowingbestexplainstheauthor’suseoftheword‘counterpoint’inreferringtoYeats?A.Yeats'paintingsdifferedsignificantlyinsubjectmatterfromthoseofhiscontemporariesinIreland.B.Yeatsreactedtotherealismofhiscontemporaryartistsbyinvokingnineteenth-centurynaturalisminhisownpaintingstyle.C.YeatsavoidedreligiousandmythologicalthemesinfavorofmundaneportrayalsofIrishlife.D.Yeatsbuiltupontherealismpaintingtradition,elevatingittounprecedentedartisticheights.61.Theauthorpointsoutthecoexistenceofromanticismandrealismmostprobablyinordertoshowthat.A.IrishpaintersoftheearlytwentiethcenturytendedtoromanticizetheharshrealityofwarB.foratimepaintersfromeachschoolinfluencedpaintersfromtheotherschoolC.YeatswasinfluencedbyboththeromanticandrealistschoolsofIrishpaintingD.thetransitioninIrishpaintingfromonepredominantstyletotheotherwasnotanabruptone62.ThemostlikelytopicoftheparagraphfollowedisA.TheRoleofCelticMythologyinIrishPaintingB.WhoDeservesCreditforthePre-eminenceofYeatsamongIrishPainters?C.RealismvsRomanticism:Ireland'sStruggleforNationalIdentityD.IrishPaintings:ReflectionsofanEmergingIndependentStateQuestions63t067arebasedonthefollowingpassage:TheLastSupperisalate15th-centurymuralpaintingbyLeonardodaVinciintherefectoryoftheConventofSantaMariadellaGrazie,Milan.Theworkispresumedtohavebeencommencedaround1495andwascommissionedaspartofaschemeofrenovationstothechurchanditsconventbuildingsbyLeonardo'spatronLudovicoSforza,DukeofMilan.ThepaintingrepresentsthesceneofTheLastSupperofJesuswithhisdisciples,asitistoldintheGospelofJohn.LeonardohasdepictedtheconsternationthatoccurredamongtheTwelveDiscipleswhenJesusannouncedthatoneofthemwouldbetrayhim.TheLastSuppermeasures460cmx880cmandcoversanendwallofthedininghallatthemonasteryofSantaMariadelleGrazieinMilan,Italy.Thethemewasatraditionaloneforrefectories,althoughtheroomwasnotarefectoryatthetimethatLeonardopaintedit.Themainchurchbuildinghadonlyrecentlybeencompleted(in1498),butwasremodeledbyBramante,hiredbyLudovicoSforzatobuildaSforzafamilymausoleum.ThepaintingwascommissionedbySforzatobethecenterpieceofthemausoleum.Thelunettesabovethemainpainting,formedbythetriplearchedceilingoftherefectory,arepaintedwithSforzacoats-of-arms.TheoppositewalloftherefectoryiscoveredbytheCrucifixionfrescobyGiovanniDonatodaMontorfano,towhichLeonardoaddedfiguresoftheSforzafamilyintempera.LeonardobeganworkonTheLastSupperin1495andcompleteditin1498-hedidnotworkonthepaintingcontinuously.Thebeginningdateisnotcertain;asthearchivesoftheconventfortheperiodhavebeendestroyedandadocumentdated1497indicatesthatthepaintingwasnearlycompletedatthatdate.OnestorygoesthatapriorfromthemonasterycomplainedtoLeonardoaboutthedelay,enraginghim.Hewrotetotheheadofthemonastery,explaininghehadbeenstrugglingtofindtheperfectvillainousfaceforJudas,andthatifhecouldnotfindafacecorrespondingwithwhathehadinmind,hewouldusethefeaturesofthepriorwhocomplained.IncommonwithotherdepictionsofTheLastSupperfromthisperiod.Leonardoseatsthedinersononesideofthetable,sothatnoneofthemhavetheirbackstotheviewer.MostpreviousdepictionsexcludedJudasbyplacinghimaloneontheoppositesideofthetablefromtheotherelevendisciplesandJesusorplacinghalosaroundallthedisciplesexceptJudas.LeonardoinsteadhasJudasleanbackintoshadow.JesusispredictingthathisbetrayerwilltakethebreadatthesametimehedoestoSaintsThomasandJamestohisleft,whoreactinhorrorasJesuspointswithhislefthandtoapieceofbreadbeforethem.DistractedbytheconversationbetweenJohnandPeter,JudasreachesforadifferentpieceofbreadnotnoticingJesustoostretchingoutwithhisrighthandtowardsit.TheanglesandlightingdrawattentiontoJesus,whoseheadislocatedatthevanishingpointforallperspectivelines.Thepaintingcontainsseveralreferencestothenumber3,whichrepresentstheChristianbeliefintheHolyTrinity.TheApostlesareseatedingroupingsofthree;therearethreewindowsbehindJesus;andtheshapeofJesus'figureresemblesatriangle.Theremayhavebeenotherreferencesthathavesincebeenlostasthepaintingdeteriorated.63.AsitistoldintheGospelofJohn,thepaintingrepresents____A.thesceneofthelastsupperofJesuswithhistwelvedisciplesB.LeonardometwiththetwelvediscipleswhenJesusannouncedthatoneofthemwouldbetra