2013艺术硕士真题参考答案

2013艺术硕士真题参考答案

一、单项选择题(每小题1分，共44分)

1. 2013年是英国作曲家布里顿诞辰100周年，他的著名管弦乐作品( )在全世界影响广泛。

A.《青少年管弦乐队指南》

B.《仲夏夜之梦》

C.《第五交响乐》

D.《春之祭》

2.康塔塔是17世纪前后出现的音乐体裁，巴洛克时期最伟大的康塔塔作曲家是( )，他

共写了200多首康塔塔。

A.亨德尔

B. J.C巴赫

C.海顿

D.莫扎特

3.民族管弦乐曲《春江花月夜》，原为琵琶曲( )，1925年被改编为民乐合奏曲。

A.《海青拿天鹅》

B.《渔舟唱晚》

C.《夕阳萧鼓》

D.《二泉映月》

4.歌曲《南泥湾》创作于1943年，通过著名歌唱家( )的演唱，使这首歌曲传遍全中国。

A.郭兰英

B.王玉珍

C.才旦卓玛

D.宋祖英

5.交响诗《牧神午后》创作于1894年，他是印象主义作曲家( )的代表作。

A.莫扎特

B.拉威尔

C.德彪西

D.李斯特

6.舞蹈是( ).

A.空间的艺术

B.综合时间和空间的艺术

C.瞬间的艺术

D.静态的艺术

7.“来如雷霆收震怒，罢如江海凝青光”是诗人( )对《剑器舞》的描述与形容。

A.李群玉

B.白居易

C.杜甫

D.王维

8.芭蕾舞作品《天鹅之死》是由( )创作的。

A.米哈伊·福金

B.列夫·伊凡诺夫

C.马里乌斯·彼季帕

D.巴兰钦

9. “伊莎多拉·邓肯”通过研究( )创造了现代舞的表演风格。

A.奥托艺术

B.巴洛克艺术

C.古希腊艺术

D.拜占廷艺术

10.舞蹈编导是舞蹈作品的创作者，通常兼有( )的双重职责。

A.编舞和示范

B.编舞和导演

C.编舞和设计

D.设计结构和撰写文本

11.中国民间舞秧歌中的“大场”通常用在舞蹈的( )。

A.开头和结尾

B.中间穿插

C.舞段衔接

D.舞段转换

12.《汉堡剧评》的作者莱辛是( )人。

A.法国

B.俄国

C.英国

D.德国

13.江泰是曹禺先生剧本( )中的人物。

A.《原野》

B.《北京人》

C. 《雷雨》

D.《日出》

14.亚里士多德的戏剧理论著作是( )。

A.《诗艺》

B.《诗学》

C.《诗的艺术》

D.《演员的矛盾》

15.( )不是俄国剧作家契诃夫剧作《三姐妹》中的人物。

A.妮娜

B.玛莎

C.叶莲娜

D.奥尔加

16.《玩偶之家》是( )的作品。

A.尤金·奥尼尔

B.席勒

C.易卜生

D.王尔德

17.( )是老舍创作的剧本。

A.《龙须沟》

B.《骆驼祥子》

C.《我这一辈子》

D.《四世同堂》

18.下列人物中的( )一般由老生行扮演。

A.包拯

B.伍子胥

C.许褚

D.张继保

19.梨园是( )朝宫廷设置的专门训练乐工的机构。

A.清

B.元

C.宋

D.唐

20.南戏脚色的完整设置应为( )。

A.生、旦、净、末、丑、外、贴

B.生、旦、净、末、丑、外

C.生、旦、净、末、丑

D.生、旦、净、丑、

21.1912年成立于西安的秦腔改良团体是( )。

A.易俗社

B.昆剧传习所

C.富连成社

D.伶工学社

22.下列剧种中，未被列入世界非物质文化遗产名录的是( )。

A.京剧

B.昆曲

C.粤剧

D.秦腔

23.现代的DV是指( )。

A.胶片影像创作

B.数字影像创作

C.立体影像创作

D.电视影像创作

24.一般公认的香港电影迄今已经有( )。

A. 70年历史

B.80年历史

C.90年历史

D.100年历史

25.电影《中国合伙人》于( )上映。

A.2000年

B.2010年

C.2012年

D.2013年

26.故事影片《一九四二》的导演是( )。

A.宁浩

B.张艺谋

C.冯小刚

D.高群书

27.下列影片中由“第五代导演”创作的是( )。

A.《神女》

B.《城南旧事》

C.《一个和八个》

D.《致我们终将逝去的青春》

28.( )属于电视的“真人秀”节目。

A.《大国崛起》

B.《中国好声音》

C.《话说长江》

D.《档案》

29.影视表现幻觉和梦境常使用的是( )。

A.平行蒙太奇

B.交叉蒙太奇

C.心理蒙太奇

D.杂耍蒙太奇

30.电视纪录片的宗旨在于( )。

A.新闻报道

B.现场互动

C.真实呈现

D.情景再现

31.影视作品《故宫》属于( )。

A. 电视报道剧

B.电视剧

C.新闻纪录片

D.文献专题片

32.“虚拟演播室”主要用于( )。

A.戏曲的虚拟表演

B.纪录片的虚拟再现

C.故事片的写意特技

D.主持类节目的虚拟场景

33.《梨园春》的基本定位是( )栏日。

A.专题

B.娱乐

C.戏曲

D. 竞技

34.《断臂维纳斯》是( )的著名雕塑。

A，古希腊B.古罗马

C.古埃及

D. 古印度

35.《青卞隐居图》是( )的作品。

A.黄公望

B.王蒙

C.倪云林

D.黄宾虹

36.中国画史上的“南北宗”说通常认为是由( )提出的。

A.王安石

B.童书业

C.董其昌

D. 俞剑华

37.文同以画( )著称。

A.梅

B.兰

C.竹

D. 菊

38.《倒牛奶的女仆》是( )画家维美尔的作品。

A.荷兰

B.比利时

C.德国

D.意犬利

39.“形式服从功能”是1907年由( )设计师路易斯·沙利文提出的。

A.芬兰

B.英国

C.意大利

D.美国

40.( )是英国19世纪工艺美术运动的主要代表人物。

A.马克斯·比尔

B.威廉·莫里斯

C.托马斯·马尔多纳多

D.萨尔姆·宾

41. 景泰蓝多用铜胎，以( )最为出色，故称为景泰蓝。

A.蓝釉

B. 黄釉

C.白釉

D.青釉

42.青铜工艺与技术是( )后的又一大发明。

A. 造纸术

B.制铁术

C.制陶术

D.炼金术

43.艺术设计是一种特殊的文化形态，具有( )的双重性。

A.人工与机械

B.个人与群体

C. 物质与文化

D.设计与调整

44.视觉传达设计涵盖了从( )的多维空间。

A.点线面到体

B.二维到四维

C.视觉到想象

D.一维到多维

二、多项选择题(每小题2分，共16分。以下各题5个选项中，至少有2个选项正确)

45.以下歌剧作品中，属于意大利作曲家威尔弟的作品有( )。

A.《阿依达》

B.《茶花女》

C.《费加罗婚礼》

D.《弄臣》

E.《奥赛罗》

46.中国民间舞“花鼓”又称( )。

A.打花鼓

B. 摇花鼓

C. 地花鼓

D.花鼓子

E.转花鼓

47.法国古典主义戏剧代表人物有( )。

A.高乃依

B.拉辛

C.歌德

D.莱辛

E.莫里哀

48.京剧“麒派”创始人周信芳的代表剧目有( )。

A.《徐策跑城》

B.《乌龙院》

C.《四进士》

D.《追韩信》

E. 《三岔口》

49.陈凯歌导演的影片有( )。

A.《搜索》

B.《集结号》

C.《霸王别姬》

D.《梅兰芳》

E.《千里走单骑》

50.( )是电视“脱口秀”栏目。

A.《实话实说》

B.《星光大道》

C.《鲁豫有约》

D.《快乐大本营》

E.《杨澜访谈录》

51.到20世纪30年代末，我国已创办有( )等艺术学校。

A.南京国立艺专

B.上海美专

C.苏州美专

D.北平国立艺专

E.杭州国立艺专

52.明式家具多采用( )的优质木材。

A.质地坚硬

B.易于加工

C.色泽沉着

D.纹理致密

E.花纹华美

三、英语阅读理解题(每小题2分，共30分)

Directions: There are three passages in this part. Each passage is followed by some questions or unfinished statements. For each of them there are four choices marked, B, C and D. Choose the best answer to each question.

Questions 53 to 57 are based on the following passage:

The Internet can make the news more democratic, giving the public a chance to ask questions and seek out facts behind stories and candidates, according to the head of the largest US on-line service.

‘But the greatest potential for public participation is still in the future,' Steven Case, chairman of America On-line, told a recent meeting on Journalism and the Internet sponsored by The Freedom Forum, though some other speakers say the new technology of computers is changing the face of journalism, giving reporters access to more information and their readers a chance to ask questions and turn to different sources.

‘You don't have to buy a newspaper and be confined to the four comers of that paper anymore.' Sam Meddis, on-line technology editor at USA Today, observed about the variety of

information available to computer users.

But the speakers noted the easy access to the internet also means anyone can post information for others to see.‘Anyone can say anyt hing they want, whether it's right or wrong.' said Case. Readers have to determine for themselves who to trust. 'In a world of almost infinite voices, respected journalists and respected brand names will probably become more important, not less,' Case said.

‘The internet today is about where radio was 80 years ago, or television 50 years ago or cable 25 years ago, 'he said. But it is growing rapidly because it provides people fast access to news and a chance to comment on it.

53. The main topic of this passage is

A. the development of journalism

B. the effect of the internet has on journalism

C. the rapid development of the internet

D. the advantages of the internet

54. It can be inferred from this passage that may NOT be regarded as the advantages of the internet.

A. the news can be made more democratic

B. anything can be posted on the internet for others to see

C. the public can turn to different sources

D. the public can get a chance to ask questions

55. The correct order for the appearance of the four technologies is _ .

A. internet-cable-television-radio

B. radio-cable-television-internet

C. radio-television-cable-internet

D. television-radio-cable-internet

56. Which of the following statements is true?

A. Only respected journalists can post information on the internet for others to see.

B. Respected journalists will probably become more important than before.

C. When people read newspapers, they have to stay in the comers of the street.

D. The greatest potential of public participation of the internet is in the near future.

57. On the whole, the attitude Steven Case holds for the internet's future development is

A. pessimistic

B. unknown

C. doubtful

D. optimistic

Questions 58 to 62 are based on the following passage:

In the past century Irish painting has changes from a British-influenced lyrical tradition to an art that evokes the ruggedness (朴实) and roots of an Irish Celtic past. At the turn of the twentieth century Irish painters, including notables Walter Frederick Osborne and Sir William Orpen, looked elsewhere for influence. Osborne's exposure to ‘plain air’ painting deeply impacted his stylistic development; and Orpen allied himself with a group of English artists, while at the same time participated in the French avant-garde experiment, both as painter and teacher.

However, nationalist energies were beginning to coalesce (接合), reviving interest in Irish culture-including Irish visual arts. Beatrice Elvery’s (1907), a landmark achievement, merged the devotional simplicity of fifteenth-century Italian painting with the iconography (图像学) of Ireland's Celtic past, linking the history of Irish Catholicism with the still-nascent (初生的)Irish republic. And, although also captivated by the French plain air school. Sir John Lavery invoked the mythology of his native land for a 1928 commission to paint the central figure for the bank note of the new Irish Free State. Lavery chose as this figure, with her arm on a Celtic harp (竖琴), the national symbol of independent Ireland.

In Irish painting from about 1910, memories of Edwardian romanticism coexisted with a new sense of realism, exemplified by the paintings of Paul Henry and Se Keating, a student of Orpen's. Realism also crept into the work of Edwardians Lavery and Orpen, both of whom made paintings depicting World War I, Lavery with a distanced Victorian nobility, Orpen closer to the front, revealing a more sinister and realistic vision. Meanwhile, counterpoint ( 对照) to the Edwardians and realists came Jack B. Yeats，whose travels throughout the rugged and more authentically Irish West led him to depict subjects ranging from street scenes in Dublin to boxing matches and funerals. Fusing close observations of Irish life and icons with an Irish identity in a new way, Yeats changed the face of Irish painting and became the most important Irish artist of his century.

58. Which of the following art most probably exerted the greatest influence on Irish

painting in the 19th century?

A. British lyrical tradition

B. French avant-garde experiment

C. nationalist energies

D. Italian painting

59. It is implied was least influenced by the contemporary art of France.

A. Sir John Lavery

B. Sir William Orpen

C. Beatrice Elvery

D. Se Keating

60. Which of the following best explains the author’s use of the word ‘counterpoint’ in referring to Yeats?

A. Yeats' paintings differed significantly in subject matter from those of his contemporaries in Ireland.

B. Yeats reacted to the realism of his contemporary artists by invoking nineteenth-century naturalism in his own painting style.

C. Yeats avoided religious and mythological themes in favor of mundane portrayals of Irish life.

D. Yeats built upon the realism painting tradition, elevating it to unprecedented artistic heights.

61. The author points out the coexistence of romanticism and realism most probably in order to show that .

A. Irish painters of the early twentieth century tended to romanticize the harsh

reality of war

B. for a time painters from each school influenced painters from the other school

C. Yeats was influenced by both the romantic and realist schools of Irish painting

D. the transition in Irish painting from one predominant style to the other was not an abrupt one

62. The most likely topic of the paragraph followed is

A. The Role of Celtic Mythology in Irish Painting

B. Who Deserves Credit for the Pre-eminence of Yeats among Irish Painters?

C. Realism vs Romanticism: Ireland's Struggle for National Identity

D. Irish Paintings: Reflections of an Emerging Independent State

Questions 63 t0 67 are based on the following passage:

The Last Supper is a late 15th-century mural painting by Leonardo da Vinci in the refectory of the Convent of Santa Maria della Grazie, Milan. The work is presumed to have been commenced around 1495 and was commissioned as part of a scheme of renovations to the

church and its convent buildings by Leonardo's patron Ludovico Sforza, Duke of Milan. The painting represents the scene of The Last Supper of Jesus with his disciples, as it is told in the Gospel of John. Leonardo has depicted the consternation that occurred among the Twelve Disciples when Jesus announced that one of them would betray him. The Last Supper measures 460cm x880cm and covers an end wall of the dining hall at the monastery of Santa Maria delle Grazie in Milan, Italy. The theme was a traditional one for refectories, although the room was not a refectory at the time that Leonardo painted it. The main church building had only recently been completed (in 1498), but was remodeled by Bramante, hired by Ludovico Sforza to build a Sforza family mausoleum. The painting was commissioned by Sforza to be the centerpiece of the mausoleum. The lunettes above the main painting, formed by the triple arched ceiling of the refectory, are painted with Sforza coats-of-arms. The opposite wall of the refectory is covered by the Crucifixionfresco by Giovanni Donato da Montorfano, to which Leonardo added figures of the Sforza family in tempera.

Leonardo began work on The Last Supper in 1495 and completed it in 1498-he did not work on the painting continuously. The beginning date is not certain; as the archives of the convent for the period have been destroyed and a document dated 1497 indicates that the painting was nearly completed at that date. One story goes that a prior from the monastery complained to Leonardo about the delay, enraging him. He wrote to the head of the monastery, explaining he had been struggling to find the perfect villainous face for Judas, and that if he could not find a face corresponding with what he had in mind, he would use the features of the prior who complained.

In common with other depictions of The Last Supper from this period. Leonardo seats the diners on one side of the table, so that none of them have their backs to the viewer. Most previous depictions excluded Judas by placing him alone on the opposite side of the table from the other eleven disciples and Jesus or placing halos around all the disciples except Judas. Leonardo instead has Judas lean back into shadow. Jesus is predicting that his betrayer will take the bread at the same time he does to Saints Thomas and James to his left, who react in horror as Jesus points with his left hand to a piece of bread before them. Distracted by the conversation between John and Peter, Judas reaches for a different piece of bread not noticing Jesus too stretching out with his right hand towards it. The angles and lighting draw attention to Jesus,

whose head is located at the vanishing point for all perspective lines. The painting contains several references to the number 3, which represents the Christian belief in the Holy Trinity. The Apostles are seated in groupings of three; there are three windows behind Jesus; and the shape of Jesus' figure resembles a triangle. There may have been other references that have since been lost as the painting deteriorated.

63. As it is told in the Gospel of John, the painting represents____

A. the scene of the last supper of Jesus with his twelve disciples

B. Leonardo met with the twelve disciples when Jesus announced that one of them

would betray him

C. an end wall of the dining hall at the monastery of Santa Maria delle Grazie in Milan, Italy

D. the centerpiece of the mausoleum for the Sforza family

64. Leonardo began work on The Last Supper in 1495 and completed it in .

A. 1496

B. 1497

C. 1498

D. 1499

65. In common with other depictions of The Last Supper from this period, Leonardo seats the diners on one side of the table, so that____

A. his betrayer will take the bread at the same time

B. the disciples can talk to each other more easily

C. none of them have their backs to the viewer

D. they can see each other more clearly

66. The painting contains several references to the number 3,which represents .

A. the three windows behind Jesus

B. the shape of Jesus' figure of a triangle

C. the lucky number for Christians

D. the Christian belief in the Holy Trinity

67. The Last Supper was painted by Leonardo da Vinci in the refectory of the Convent

of Santa Maria della Grazie,____.

A. Milan in the l4th century

B. Italy in the 15th century

C. France in the 15th century

D. London in the 14th century

四、论述题(A、B两组各限选一小趣，每小题30分，共60分，每小题字数在600字左

右)

A组：

1.简论艺术的民族性。

2.简论艺术想象及其作用。

3.简论艺术创作中传统与创新的关系。

4.简论电视的“雅俗共赏”与“雅俗分赏”。

B组：

1.简述音乐的社会功能。

2.简述小剧场戏剧的特征。

3.简述戏曲与观众的关系。

4.简述电影创作中流行的“小时代”现象。

5.简述电视艺术与技术的关系。

6.简述舞蹈创作构思的要素。

7.简述中外美术史上某件艺术作品的风格。

8.简述艺术设计对生活的影响。

1-5 ABCAC

6-10 BCACB

11-15 ADBBA

16-20 CABDA

21-25 ADBDD

26-30 CCBCC

31-35 DDCAB

36-40 CCADB

41-44 ACCB

45.ABDE 46.ACD 47.ABE 48.ABCD 49.ACD 50.ACE 51.BCD 52.ACDE

53-57.BBCBD

58-62.AAADD 63-67.ACCDB