藝術(shù)碩士真題及答案

藝術(shù)碩士真題參考答案一、單項(xiàng)選擇題(每小題1分，共44分)1.是英國(guó)作曲家布里頓誕辰100周年，他著名管弦樂(lè)作品()在全世界影響廣泛。A.《青少年管弦樂(lè)隊(duì)指南》B.《仲夏夜之夢(mèng)》C.《第五交響樂(lè)》D.《春之祭》2.康塔塔是17世紀(jì)前后出現(xiàn)音樂(lè)體裁，巴洛克時(shí)期最偉大康塔塔作曲家是()，他共寫(xiě)了200多首康塔塔。A.亨德?tīng)朆.J.C巴赫C.海頓D.莫扎特3.民族管弦樂(lè)曲《春江花月夜》，原為琵琶曲()，1925年被改編為民樂(lè)合奏曲。A.《海青拿天鵝》B.《漁舟唱晚》C.《夕陽(yáng)蕭鼓》D.《二泉映月》4.歌曲《南泥灣》創(chuàng)作于1943年，經(jīng)過(guò)著名歌唱家()演唱，使這首歌曲傳遍全中國(guó)。A.郭蘭英B.王玉珍C.才旦卓瑪D.宋祖英5.交響詩(shī)《牧神午后》創(chuàng)作于1894年，他是印象主義作曲家()代表作。A.莫扎特B.拉威爾C.德彪西D.李斯特6.舞蹈是().A.空間藝術(shù)B.綜合時(shí)間和空間藝術(shù)C.瞬間藝術(shù)D.靜態(tài)藝術(shù)7.“來(lái)如雷霆收震怒，罷如江海凝青光”是詩(shī)人()對(duì)《劍器舞》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(chuàng)作。A.米哈伊·福金B(yǎng).列夫·伊凡諾夫C.馬里烏斯·彼季帕D.巴蘭欽9.“伊莎多拉·鄧肯”經(jīng)過(guò)研究()創(chuàng)造了當(dāng)代舞演出格調(diào)。A.奧托藝術(shù)B.巴洛克藝術(shù)C.古希臘藝術(shù)D.拜占廷藝術(shù)10.舞蹈編導(dǎo)是舞蹈作品創(chuàng)作者，通常兼有()雙重職責(zé)。A.編舞和示范B.編舞和導(dǎo)演C.編舞和設(shè)計(jì)D.設(shè)計(jì)結(jié)構(gòu)和撰寫(xiě)文本11.中國(guó)民間舞秧歌中“大場(chǎng)”通慣用在舞蹈()。A.開(kāi)頭和結(jié)尾B.中間穿插C.舞段銜接D.舞段轉(zhuǎn)換12.《漢堡劇評(píng)》作者萊辛是()人。A.法國(guó)B.俄國(guó)C.英國(guó)D.德國(guó)13.江泰是曹禺先生劇本()中人物。A.《原野》B.《北京人》C.《雷雨》D.《日出》14.亞里士多德戲劇理論著作是()。A.《詩(shī)藝》B.《詩(shī)學(xué)》C.《詩(shī)藝術(shù)》D.《演員矛盾》15.()不是俄國(guó)劇作家契訶夫劇作《三姐妹》中人物。A.妮娜B.瑪莎C.葉蓮娜D.奧爾加16.《玩偶之家》是()作品。A.尤金·奧尼爾B.席勒C.易卜生D.王爾德17.()是老舍創(chuàng)作劇本。A.《龍須溝》B.《駱駝祥子》C.《我這一輩子》D.《四世同堂》18.以下人物中()通常由老生行飾演。A.包拯B.伍子胥C.許褚D.張繼保19.梨園是()朝宮廷設(shè)置專(zhuān)門(mén)訓(xùn)練樂(lè)工機(jī)構(gòu)。A.清B.元C.宋D.唐20.南戲腳色完整設(shè)置應(yīng)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成立于西安秦腔改良團(tuán)體是()。A.易俗社B.昆劇傳習(xí)所C.富連成社D.伶工學(xué)社22.以下劇種中，未被列入世界非物質(zhì)文化遺產(chǎn)名目標(biāo)是()。A.京劇B.昆曲C.粵劇D.秦腔23.當(dāng)代DV是指()。A.膠片影像創(chuàng)作B.數(shù)字影像創(chuàng)作C.立體影像創(chuàng)作D.電視影像創(chuàng)作24.通常公認(rèn)香港電影迄今已經(jīng)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(guó)合作人》于()上映。A.B.C.D.26.故事影片《一九四二》導(dǎo)演是()。A.寧浩B.張藝謀C.馮小剛D.高群書(shū)27.以下影片中由“第五代導(dǎo)演”創(chuàng)作是()。A.《神女》B.《城南舊事》C.《一個(gè)和八個(gè)》D.《致我們終將逝去青春》28.()屬于電視“真人秀”節(jié)目。A.《大國(guó)崛起》B.《中國(guó)好聲音》C.《話(huà)說(shuō)長(zhǎng)江》D.《檔案》29.影視表現(xiàn)幻覺(jué)和夢(mèng)境常使用是()。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(jì)錄片宗意在于()。A.新聞報(bào)道B.現(xiàn)場(chǎng)互動(dòng)C.真實(shí)展現(xiàn)D.情景再現(xiàn)31.影視作品《故宮》屬于()。A.電視報(bào)道劇B.電視劇C.新聞紀(jì)錄片D.文件專(zhuān)題片32.“虛擬演播室”主要用于()。A.戲曲虛擬演出B.紀(jì)錄片虛擬再現(xiàn)C.故事片寫(xiě)意特技D.主持類(lèi)節(jié)目標(biāo)虛擬場(chǎng)景33.《梨園春》基本定位是()欄日。A.專(zhuān)題B.娛樂(lè)C.戲曲D.競(jìng)技34.《斷臂維納斯》是()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()作品。A.黃公望B.王蒙C.倪云林D.黃賓虹36.中國(guó)畫(huà)史上“南北宗”說(shuō)通常認(rèn)為是由()提出。A.王安石B.童書(shū)業(yè)C.董其昌D.俞劍華37.文同以畫(huà)()著稱(chēng)。A.梅B.蘭C.竹D.菊38.《倒牛奶女仆》是()畫(huà)家維美爾作品。A.荷蘭B.比利時(shí)C.德國(guó)D.意犬利39.“形式服從功效”是19由()設(shè)計(jì)師路易斯·沙利文提出。A.芬蘭B.英國(guó)C.意大利D.美國(guó)40.()是英國(guó)19世紀(jì)工藝美術(shù)運(yùn)動(dòng)主要代表人物。A.馬克斯·比爾B.威廉·莫里斯C.托馬斯·馬爾多納多D.薩爾姆·賓41.景泰藍(lán)多用銅胎，以()最為出眾，故稱(chēng)為景泰藍(lán)。A.藍(lán)釉B.黃釉C.白釉D.青釉42.青銅工藝與技術(shù)是()后又一大創(chuàng)造。A.造紙術(shù)B.制鐵術(shù)C.制陶術(shù)D.煉金術(shù)43.藝術(shù)設(shè)計(jì)是一個(gè)特殊文化形態(tài)，具備()雙重性。A.人工與機(jī)械B.個(gè)人與群體C.物質(zhì)與文化D.設(shè)計(jì)與調(diào)整44.視覺(jué)傳達(dá)設(shè)計(jì)涵蓋了從()多維空間。A.點(diǎn)線(xiàn)面到體B.二維到四維C.視覺(jué)到想象D.一維到多維二、多項(xiàng)選擇題(每小題2分，共16分。以下各題5個(gè)選項(xiàng)中，最少有2個(gè)選項(xiàng)正確)45.以下歌劇作品中，屬于意大利作曲家威爾弟作品有()。A.《阿依達(dá)》B.《茶花女》C.《費(fèi)加羅婚禮》D.《弄臣》E.《奧賽羅》46.中國(guó)民間舞“花鼓”又稱(chēng)()。A.打花鼓B.搖花鼓C.地花鼓D.花鼓子E.轉(zhuǎn)花鼓47.法國(guó)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.莫里哀48.京劇“麒派”創(chuàng)始人周信芳代表劇目有()。A.《徐策跑城》B.《烏龍?jiān)骸稢.《四進(jìn)士》D.《追韓信》E.《三岔口》49.陳凱歌導(dǎo)演影片有()。A.《搜索》B.《集結(jié)號(hào)》C.《霸王別姬》D.《梅蘭芳》E.《千里走單騎》50.()是電視“脫口秀”欄目。A.《實(shí)話(huà)實(shí)說(shuō)》B.《星光大道》C.《魯豫有約》D.《愉快大本營(yíng)》E.《楊瀾訪(fǎng)談錄》51.到20世紀(jì)30年代末，我國(guó)已創(chuàng)辦有()等藝術(shù)學(xué)校。A.南京國(guó)立藝專(zhuān)B.上海美專(zhuān)C.蘇州美專(zhuān)D.北平國(guó)立藝專(zhuān)E.杭州國(guó)立藝專(zhuān)52.明式家俱多采取()優(yōu)質(zhì)木材。A.質(zhì)地堅(jiān)硬B.易于加工C.色澤從容D.紋理致密E.花紋華美三、英語(yǔ)閱讀了解題(每小題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(shí))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(xué))ofIreland'sCelticpast,linkingthehistoryofIrishCatholicismwiththestill-nascent(初生)Irishrepublic.And,althoughalsocaptivatedbytheFrenchplainairschool.SirJohnLaveryinvokedthemythologyofhisnativelandfora1928commissiontopaintthecentralfigureforthebanknoteofthenewIrishFreeState.Laverychoseasthisfigure,withherarmonaCelticharp(豎琴),thenationalsymbolofindependentIreland.InIrishpaintingfromabout1910,memoriesofEdwardianromanticismcoexistedwithanewsenseofrealism,exemplifiedbythepaintingsofPaulHenryandSeKeating,astudentofOrpen's.RealismalsocreptintotheworkofEdwardiansLaveryandOrpen,bothofwhommadepaintingsdepictingWorldWarI,LaverywithadistancedVictoriannobility,Orpenclosertothefront,revealingamoresinisterandrealisticvision.Meanwhile,counterpoint(對(duì)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.LeonardometwiththetwelvediscipleswhenJesusannouncedthatoneofthemwouldbetrayhimC.anendwallofthedininghallat