一、單項(xiàng)選擇題(共 44 題，每小題 1 分，共 44 分。以下各題四個(gè)選項(xiàng)甲，只有一個(gè)選項(xiàng)正
確）
1．舞劇《天鵝湖》的曲作者是（ ）。
A ．貝多芬 B ．柴科夫斯基
C ．德彪西 D ．莫扎特
2．巴赫和亨德爾是歐洲音樂( )時(shí)期的兩位代表性作曲家。
A ．浪漫主義 B ．印象主義
C ．巴洛克 D ．文藝復(fù)興
3．由“呈示部-展開部—再現(xiàn)部”構(gòu)成的曲式類型叫()。
A ．變奏曲式 B ．迥旋曲式
C ．二部曲式 D ．奏鳴曲式
4．奧地利作曲家海頓創(chuàng)作的《創(chuàng)世紀(jì)》，是一部（ ）作品。
A．清唱?jiǎng)?B ．交響樂
C ．歌劇 D ．協(xié)奏曲
5．（ ）是一種日本古典市民藝術(shù)，形成于17 世紀(jì)。
A．歌舞伎 B ．甘美蘭
C ．盤索里 D ．倫巴
6．( )是中國民間音樂中說唱音樂的主要體裁之一。
A ．京韻大鼓 B ．江南絲竹
C ．花燈 D ．山東鼓吹
7．在十八世紀(jì)，音樂、詩歌、繪畫、雕刻被總稱為( )。
A ．藝術(shù) B ．人文科學(xué)
C ．美的藝術(shù) D ．五藝
8．亞里士多德認(rèn)為藝術(shù)是對(duì)自然的( )。
A ．摹仿 B ．改造
C ．創(chuàng)造 D ．寫照
9．“以美育代宗教”的思想是由( )提出的。
A ．王國維 B ．魯迅
C ．蔡元培 D ．胡適
10．15 世紀(jì)以前歐洲繪畫主要采用( )。
A ．油彩 B ．蛋彩
C ．水粉 D ．水彩
11．唐代青綠山水的代表人物是（ ）。
A ．李思訓(xùn) B ．吳道子
C ．王維 D ．李唐
12．1924 年，法國作家安德烈·布勒東在巴黎發(fā)表了( )。
A ．《超現(xiàn)實(shí)主義宣言》 B ．《現(xiàn)實(shí)主義宣言》
C ．《未來主義宣言》 D ．《表現(xiàn)主義宣言》
13．藝術(shù)設(shè)計(jì)的思維方式屬于( )。
A ．形象思維 B ．邏輯思維
C ．形象思維與邏輯思維相結(jié)合 D ．單向思維
14 ．藝術(shù)設(shè)計(jì)的理論學(xué)習(xí)與技能訓(xùn)練最終是為了培養(yǎng)學(xué)生的( )。
A ．觀察能力 B ．表述能力
C ．描繪能力 D ．創(chuàng)造能力
15．民間藍(lán)印花布以其( )風(fēng)格而著稱。
A ．華貴 B ．高雅
C ．淳樸 D ．秀麗
16．的鮑豪斯設(shè)計(jì)學(xué)院發(fā)源于( )。
A. 德國 B.美國
C ．英國 D ．法國
17．環(huán)境藝術(shù)設(shè)計(jì)的本質(zhì)是為了( )。
A ．改造自然環(huán)境 B ．美化生活環(huán)境
C ．安排居住空間 D.創(chuàng)造理想的生存空間
18．丹麥的現(xiàn)代設(shè)計(jì)早期以( )而著稱。
A ．陶瓷設(shè)計(jì) B ．家具設(shè)計(jì)
C ．服裝設(shè)計(jì) D ．玩具設(shè)計(jì)
19．（ ）不屬于戲劇的基本特性。
A ．動(dòng)作 B ．戲劇沖突
C ．照相本性 D ．戲劇情境
20．戲劇的本質(zhì)是（ ）。
A ．沖突 B ．動(dòng)作
C ．情節(jié) D ．結(jié)構(gòu)
21．( )是歐洲中世紀(jì)戲劇的樣式之一。
A ．苦難劇 B ．道德劇
C ．性格劇 D ．情景劇
22．( )是夏衍先生的戲劇作品。
A ．《上海屋檐下》 B ．《包身工》
C ．《原野》 D ．《十字街頭》
23．人們公認(rèn)的中國話劇的發(fā)韌之作是（ ）。
A ．《升官圖》 B. 《名優(yōu)之死》
C ．《黑奴吁天錄》 D ．《雷雨》
24．( )的《歐那尼》的上演，標(biāo)志著古典主義戲劇的結(jié)束，浪漫主義戲劇的開始。
A.雨果 B ．席勒
C ．萊辛 D ．博馬舍
25.下列演員中，（ ）是評(píng)劇演員。
A ．丁是娥 B ．李再雯
C ．羅壽山 D ．周慕蓮
26.發(fā)生在明代中期的“湯沈之爭(zhēng)”中的“沈”指( )。
A ．沈約 B ．沈云英
C．沈璟 D ．沈括
27.下列演員中，( )為元代雜劇演員。
A ．馬錦 B ．彭天錫
C ．陳明智 D ．珠簾秀
28. 《花部農(nóng)譚》的作者是( )。
A ．葉堂 B ．李調(diào)元
C ．黃幡綽 D ．焦循
29．“王十朋”是( )中的人物。
A ．《紫釵記》 B. 《荊釵記》
C ．《紫玉釵》 D. 《拜月亭記》
30．參軍戲的兩個(gè)主要腳色，一為參軍，另一個(gè)為( )。
A ．蒼鶻 B ．副末
C ．貼旦 D ．副凈
31．電影片種包括( )等。
A ．西部片 B ．警匪片
C ．歌舞片 D.故事片
32．中景一般表現(xiàn)的范圍是( )。
A.人物身體膝蓋以上的景別 B ．人物全身的景
C ．人物身體胸部以上的景別 D ．人物身體肩部以上的景別
33．?dāng)z影機(jī)沿著光軸方向向后移拍攝，畫面包容范圍逐漸擴(kuò)大，這在鏡頭運(yùn)動(dòng)的術(shù)語中叫
做( )。
A ．搖鏡頭 B ．推鏡頭
C．移鏡頭 D ．拉鏡頭
34．電影《定軍山》的出現(xiàn)標(biāo)志著( )。
A.中國電影的誕生 B ．中國有聲電影的誕生
C．中國電影故事片的誕生 D ．中國戰(zhàn)爭(zhēng)電影的誕生
35．廣播電視作為電子媒介，以( )為表現(xiàn)形式。
A．新聞 B ．文藝
C．欄目 D.節(jié)目
36.電視視覺語言的最小單位是( )。
A．畫面 B ．鏡頭
C.形象 D.詞匯
32.影視劇中的“主觀鏡頭”指的是( )。
A．?dāng)z像師的視角 B ．導(dǎo)演的視角
C．角色的視角 D ．觀眾的視角
38．電視敘事、抒情的藝術(shù)手段主要體現(xiàn)為( )。
A．聲音 B ．廁面
C．主持 D.聲畫結(jié)合
39．電視連續(xù)劇《圍城》改編自( )的同名長(zhǎng)篇小說。
A．老舍 B ．錢鐘書
C．張恨水 D.賈平凹
40．中國的芭蕾舞表演藝術(shù)家( )被稱為中國的第一只“白天鵝”。
A．胡蓉蓉 B ．薛菁華
C. 白淑湘 D ．石鐘琴
41．中國的舞蹈作品《雀之靈》，是中國舞蹈家( )的代表作。
A．刀美蘭 B.楊麗萍
C．馬惠仙 D ．楊桂珍
42 回憶和描寫公孫大娘舞劍器情景的《觀公孫大娘弟子舞劍器行》一詩，是詩人( )
所作。
A．李白 B ．杜甫
C.李賀 D ．白居易
43 ．戴愛蓮先生創(chuàng)作的舞蹈( )，是我國第一部根據(jù)敦煌壁畫中“香音女神”的形象
創(chuàng)作的舞蹈作品。
A．《雙飛天》 B ．《童子飛天》
C．《飛天》 D ．《六臂飛天》
44．舞劇《絲路花雨》中的敦煌舞姿，呈現(xiàn)了敦塢石窟壁畫藝術(shù)特有的( )特征。
A．回旋動(dòng)態(tài) B ．字形曲線
C．仰俯動(dòng)態(tài) D ．S 形曲線
二、多項(xiàng)選擇題(共8 題，每小題 2分，共 16 分。以下各題五個(gè)選項(xiàng)中，至少有 2個(gè)選確)
45．劉天華是我國的民族器樂家，下列作品中 是由他創(chuàng)作的名曲。
A ．《二泉映月》 B. 《良宵》
C ．《廣陵散》 D 《光明行》
E ．《蔭中鳥》
46．意本利文藝復(fù)興藝術(shù)采用了——等科學(xué)手段。
A.透視學(xué) B ．化學(xué)
C.解剖學(xué) D.光學(xué)
E ．?dāng)?shù)學(xué)
47．科學(xué)的藝術(shù)設(shè)計(jì)方法是為了( )。
A ．提高工作效率 B. 提高設(shè)計(jì)質(zhì)量
C.設(shè)計(jì)者的能動(dòng)作用 D ．確定設(shè)計(jì)選題
E ．明確設(shè)計(jì)任務(wù)
48．戲劇的基本功能有( )。
A.審美功能 B.娛樂功能
C ．間離功能 D.流功能
E.教育功能
49．下列元代雜劇作品中，根據(jù)唐傳奇改編的有( )。
A. 《西廂記》 B. 《望江亭》
C ．《倩女離魂》 D. 《救風(fēng)塵》
E ．《墻頭馬上》
50．在電影攝制中，“搖鏡頭”的運(yùn)動(dòng)是指( )。
A ．上下?lián)u B.推拉鏡頭
C ．事右搖 D.旋轉(zhuǎn)
E.跟鏡頭
51．影視光源主要包括( )。
A.順光 B.逆光
C. 自然光 D.人工光
E．氣氛光
52．中國舞劇《小刀會(huì)》( )。
A ．反映19 世紀(jì)50 年代太平天國運(yùn)動(dòng)
B ．反映天地會(huì)農(nóng)民起義運(yùn)動(dòng)
C．表現(xiàn)農(nóng)民黃巾起義的內(nèi)容
D ．表現(xiàn)反抗帝國主義和清朝封建統(tǒng)治的主題
E ．表現(xiàn)農(nóng)民領(lǐng)袖洪秀全組織窮苦百姓武裝起義的內(nèi)容
三、英語閱讀理解（共15 題，每小題2 分，滿分30 分）
Part I Reading Comprehension
Directions: There are three reading passages in this part. Each passage is followed by some questions or unfinished statements. For each of them there are four suggested answers marked A, B,C and D. Choose the best answer to each question. Questions 1 to 5 are based on the following passage: ( 10 分 )
Every artist knows in his heart that he is saying something to the public. Not only does he wantto say it well, but he wants it to be something which has not been said before. He hopes the publicwill listen and understand--he wants to teach them, and he wants them to learn from him. Whatvisual artists like painters want to teach is easy to make out but difficult to explain, because painterstranslate their experiences into shapes and colors, not words. They seem to feel that a certainselection of shapes and colors, out of the countless billions possible, is exceptionally interesting forthem and worth showing to us. Without their work we should never have noticed these particularshapes and colors, or have felt the delight which they brought to the artist. Most artists take theirshapes and colors from the world of nature and from human bodies in motion and repose; theirchoices indicate that these aspects of the world are worth looking at, that they contain beautifulsights. Contemporary artists might say that they merely choose subjects that provide an interestingpattern, that there is nothing more in it. Yet even they do not choose entirely without reference to thecharacter of their subjects. If one painter chooses to paint a gangrenous (生壞疽的) leg and another alake in moonlight, each of them is directing our attention to a certain aspect of the world. Eachpainter is telling us something, showing us something, emphasizing something---all of which meanthat, consciously or unconsciously, he is trying to teach us.
53. All artists are common in that （ ）
A. they use shapes and colors instead of words
B. they are trying to teach the public
C. whaat they want to teach is difficult to explain
D. they want to learn from the public
54. A painter chooses certain shapes and colors out of the countless billions possible because he believes they （ ）
A. are beautiful B. can bring delight to him
C. are worth showing to the public D. are particular
55. Contemporary artists choose subjects
A. without reference to the character of their subjects
B. that only provide the interesting pattern
C. that there is no meaning in it
D. partly for the meaning of the subjects
56. Comparing the painter who paints a gangrenous leg with the one who paints a lake in
moonlight, we can draw the conclusion that （ ）
A. both convey the same meaning B. both show certain aspects of the world
C. the latter is more meaningful D. the former is more meaningful
57. According to the passage, which of the following statements is true?
A. The public could share the artist's feelings through their choice of shapes and colors.
B. The painter should not choose to paint ugly things.
C. Contemporary artists are completely different from other artists.
D. All artists are teaching the public consciously.
Questions 6 to 10 are based on the following passage: (10 分)
In previous generations, young people were under their parents' control; now the teenagechildren of the West's richest generation were ready for something to get excited about.
The Beatlessimply put a spark to a fuse (導(dǎo)火線) that was waiting to be lit.
Everything changed, and what changed for the Beatles was their lives and their working
habits,in the midst of the hysterical (歇斯底里的)following the band attracted.. Because of the
demand ofthe fans to see them perform, they played bigger and bigger venues (meeting places),
especially inAmerica.
But John, Paul, George and Ringo became increasingly unhappy that, because of the
screamingof their fans, neither the band nor the audience could hear the music. Creatively
frustrated and tiredof the pressures of life under siege (圍攻) from their fans, they retired from
playing concerts in 1966and decided to concentrate on recording.
It was from this point that the brilliance of the Beades really began to reveal itself: they
wouldrecord over their career some 200 songs. Never before nor since has any recording and
writing groupeven developed and yet remained the same in the way the Beades did.
Their songs never lost their universal appeal thanks to the warmth and timelessness of
theirmelodies and lyrics.
John and Paul were powerful singers with distinctive styles. It became apparent that, despite thefact that the songwriting credits were always equally attributed to them, Paul and John wrote andsang their own songs. George also contributed two or three of his own compositions to each of theBeatles eleven albums. Even Ringo wrote and sang the occasional song.
58. Which of the following is NOT true about the Beatles according to the passage?
A. They made the young people of their time very excited.
B. They attracted a large following wherever they played.
C. They were always pleased with their popularity.
D, No other pop music group had ever recorded or written as many songs as they did.
59. It can be inferred from the passage that （ ）
A. John and Paul were more talented and made greater contribution to the success of the band
B. John and Paul sang their own songs because they didn' like each other's style
C. George and Ringo never composed or sang theii" own songs
D. The Beatles maintained so much popularity with their works that no other recording or
writing group could Compare
60. It is implied in the third paragraph that( )
A. the Beatles had no appetite for fame
B. the audience were unhappy about the sound effect
C. pop musicians get easily fired as they are under great pressures of life
D. the screaming of the fans prevented the Beafles fromperforming happily and creatively
61. The Beatles'outstanding qualities were really shown when( )
A. they concentrated on recording and composition
B. they played on the American continent
C. they played their own lyrics and melodies on the stage
D. they sang on the stage pop songs they wrote themselves
62. What can we learn about the Beafles' music?
A. It was a fine examPle of music for simple singalong songs.
B. Its appeal was not limited to any particular time or group of people.
C. It was simple in form but rich in meaning.
D. It reached a height which other pop music groups had never reached for their lyrics and melodies.
Questions 11 to 15 are based on the following passage: ( 10 分 )
In the United States, it is important to be on time, or punctual, for an appointment, a class, a meeting, etc. However, this may not be true in all countries. An American professor discovered this difference while teaching a class in a Brazilian university. The two-hour class was scheduled to begin at 10 a.m. and end at 12. On the first day, when the professor arrived on time, no one was in the classroom. Many students came after 10 a.m. Several arrived after 10:30 a.m. Two students came after 11 a.m. Although all the students greeted the professor as they arrived, few apologized for their lateness. Were these students being rude? He decided to study the students' behavior.
The professor talked to American and Brazilian students about lateness in both an informal and a formal situation: at a lunch with a friend and in university calls, respectively. He gave them anexample and asked them how they would react. If they had a lunch appointment with a friend, the average American student showed clearly lateness as 19 minutes:after the agreed time. On the otherhand, the average Brazilian student would be 33 minutes late.
In an American university, students are expected to arrive at the appointed hour. In contrast, inBrazil, neither the teacher nor the students always arrive at the appointed hour. Classes not onlybegin at the scheduled time in the United States, but also end at the scheduled time. In the Brazilianclass, only a few students left the class at 12:00; many remained past 12:30 to discuss the class andask more questions. Arriving late may not be very important in Brazil, neither is staying late.
63. The American professor studied the Brazilian students' behavior because （ ）
A. he felt angry at the students' rudeness
Bhe felt puzzled at the students' being late,
C. he wanted to collect data for his research
D. he wanted to make students come on time later
64. Which of the following is NOT true according to the passage?
A. Both American and Brazilian students will often be late for a lunch appointment.
B. Classes begin and end at the scheduled time in the United States.
C. Brazilian teachers don't mind staying late after class.
D. Brazilian students usually arrive late and leave early.
65. What can we infer from the professor's study of lateness in the informal situation?
A. Neither Brazilian nor American students like to be late in social gatherings.
B. American students will become impatient if their friend is ten minutes late.
C. Being late in one culture maynot be considered rude in another culture.
D. Brazilian students will not come thirty-three minutes after the agreed time.
66. From the last paragraph we know that in Brazil, （ ）。
A. it is acceptable for professors to be late for class
B. it is rude to keep a professor staying after class
C. it is important to arrive at the appointed time
D. it is Normal for students to leave during lectures
67. What does this passage tell us?
A. People learn the importance of time from the country in which they live.
B. The importance of being on .time differs among cultures.
C. Students being late for class should explain the reason to their teacher.
D. It is important to come to class on time in the united States.
四、論述題(A、B 兩組各選一題，每小題 30 分，共 60 分，每題論述字?jǐn)?shù)在 600 字左右)
A 組
1．簡(jiǎn)要論述藝術(shù)的民族性和世界性的關(guān)系。
2．試論基礎(chǔ)訓(xùn)練對(duì)于提升藝術(shù)創(chuàng)造能力的重要性。
3．聯(lián)系實(shí)例，談?wù)勀銓?duì)藝術(shù)傳統(tǒng)的認(rèn)識(shí)。 ．
4．聯(lián)系實(shí)例，談?wù)勀銓?duì)藝術(shù)的社會(huì)功能的理解。
B 組
1．簡(jiǎn)論貝多芬在歐洲音樂的地位。
2．簡(jiǎn)論“小劇場(chǎng)戲劇”的藝術(shù)特征。
3．簡(jiǎn)論戲曲表演程式。
4．簡(jiǎn)論電影藝術(shù)的視聽語言特征?！?BR> 5．簡(jiǎn)論廣播電視中技術(shù)與藝術(shù)的關(guān)系。
6．簡(jiǎn)論廣場(chǎng)民間舞和劇場(chǎng)民間舞之間的異同。
7．簡(jiǎn)論抽象繪畫的特征。
8．簡(jiǎn)論從事藝術(shù)設(shè)計(jì)工作應(yīng)有的知識(shí)結(jié)構(gòu)。
確）
1．舞劇《天鵝湖》的曲作者是（ ）。
A ．貝多芬 B ．柴科夫斯基
C ．德彪西 D ．莫扎特
2．巴赫和亨德爾是歐洲音樂( )時(shí)期的兩位代表性作曲家。
A ．浪漫主義 B ．印象主義
C ．巴洛克 D ．文藝復(fù)興
3．由“呈示部-展開部—再現(xiàn)部”構(gòu)成的曲式類型叫()。
A ．變奏曲式 B ．迥旋曲式
C ．二部曲式 D ．奏鳴曲式
4．奧地利作曲家海頓創(chuàng)作的《創(chuàng)世紀(jì)》，是一部（ ）作品。
A．清唱?jiǎng)?B ．交響樂
C ．歌劇 D ．協(xié)奏曲
5．（ ）是一種日本古典市民藝術(shù)，形成于17 世紀(jì)。
A．歌舞伎 B ．甘美蘭
C ．盤索里 D ．倫巴
6．( )是中國民間音樂中說唱音樂的主要體裁之一。
A ．京韻大鼓 B ．江南絲竹
C ．花燈 D ．山東鼓吹
7．在十八世紀(jì)，音樂、詩歌、繪畫、雕刻被總稱為( )。
A ．藝術(shù) B ．人文科學(xué)
C ．美的藝術(shù) D ．五藝
8．亞里士多德認(rèn)為藝術(shù)是對(duì)自然的( )。
A ．摹仿 B ．改造
C ．創(chuàng)造 D ．寫照
9．“以美育代宗教”的思想是由( )提出的。
A ．王國維 B ．魯迅
C ．蔡元培 D ．胡適
10．15 世紀(jì)以前歐洲繪畫主要采用( )。
A ．油彩 B ．蛋彩
C ．水粉 D ．水彩
11．唐代青綠山水的代表人物是（ ）。
A ．李思訓(xùn) B ．吳道子
C ．王維 D ．李唐
12．1924 年，法國作家安德烈·布勒東在巴黎發(fā)表了( )。
A ．《超現(xiàn)實(shí)主義宣言》 B ．《現(xiàn)實(shí)主義宣言》
C ．《未來主義宣言》 D ．《表現(xiàn)主義宣言》
13．藝術(shù)設(shè)計(jì)的思維方式屬于( )。
A ．形象思維 B ．邏輯思維
C ．形象思維與邏輯思維相結(jié)合 D ．單向思維
14 ．藝術(shù)設(shè)計(jì)的理論學(xué)習(xí)與技能訓(xùn)練最終是為了培養(yǎng)學(xué)生的( )。
A ．觀察能力 B ．表述能力
C ．描繪能力 D ．創(chuàng)造能力
15．民間藍(lán)印花布以其( )風(fēng)格而著稱。
A ．華貴 B ．高雅
C ．淳樸 D ．秀麗
16．的鮑豪斯設(shè)計(jì)學(xué)院發(fā)源于( )。
A. 德國 B.美國
C ．英國 D ．法國
17．環(huán)境藝術(shù)設(shè)計(jì)的本質(zhì)是為了( )。
A ．改造自然環(huán)境 B ．美化生活環(huán)境
C ．安排居住空間 D.創(chuàng)造理想的生存空間
18．丹麥的現(xiàn)代設(shè)計(jì)早期以( )而著稱。
A ．陶瓷設(shè)計(jì) B ．家具設(shè)計(jì)
C ．服裝設(shè)計(jì) D ．玩具設(shè)計(jì)
19．（ ）不屬于戲劇的基本特性。
A ．動(dòng)作 B ．戲劇沖突
C ．照相本性 D ．戲劇情境
20．戲劇的本質(zhì)是（ ）。
A ．沖突 B ．動(dòng)作
C ．情節(jié) D ．結(jié)構(gòu)
21．( )是歐洲中世紀(jì)戲劇的樣式之一。
A ．苦難劇 B ．道德劇
C ．性格劇 D ．情景劇
22．( )是夏衍先生的戲劇作品。
A ．《上海屋檐下》 B ．《包身工》
C ．《原野》 D ．《十字街頭》
23．人們公認(rèn)的中國話劇的發(fā)韌之作是（ ）。
A ．《升官圖》 B. 《名優(yōu)之死》
C ．《黑奴吁天錄》 D ．《雷雨》
24．( )的《歐那尼》的上演，標(biāo)志著古典主義戲劇的結(jié)束，浪漫主義戲劇的開始。
A.雨果 B ．席勒
C ．萊辛 D ．博馬舍
25.下列演員中，（ ）是評(píng)劇演員。
A ．丁是娥 B ．李再雯
C ．羅壽山 D ．周慕蓮
26.發(fā)生在明代中期的“湯沈之爭(zhēng)”中的“沈”指( )。
A ．沈約 B ．沈云英
C．沈璟 D ．沈括
27.下列演員中，( )為元代雜劇演員。
A ．馬錦 B ．彭天錫
C ．陳明智 D ．珠簾秀
28. 《花部農(nóng)譚》的作者是( )。
A ．葉堂 B ．李調(diào)元
C ．黃幡綽 D ．焦循
29．“王十朋”是( )中的人物。
A ．《紫釵記》 B. 《荊釵記》
C ．《紫玉釵》 D. 《拜月亭記》
30．參軍戲的兩個(gè)主要腳色，一為參軍，另一個(gè)為( )。
A ．蒼鶻 B ．副末
C ．貼旦 D ．副凈
31．電影片種包括( )等。
A ．西部片 B ．警匪片
C ．歌舞片 D.故事片
32．中景一般表現(xiàn)的范圍是( )。
A.人物身體膝蓋以上的景別 B ．人物全身的景
C ．人物身體胸部以上的景別 D ．人物身體肩部以上的景別
33．?dāng)z影機(jī)沿著光軸方向向后移拍攝，畫面包容范圍逐漸擴(kuò)大，這在鏡頭運(yùn)動(dòng)的術(shù)語中叫
做( )。
A ．搖鏡頭 B ．推鏡頭
C．移鏡頭 D ．拉鏡頭
34．電影《定軍山》的出現(xiàn)標(biāo)志著( )。
A.中國電影的誕生 B ．中國有聲電影的誕生
C．中國電影故事片的誕生 D ．中國戰(zhàn)爭(zhēng)電影的誕生
35．廣播電視作為電子媒介，以( )為表現(xiàn)形式。
A．新聞 B ．文藝
C．欄目 D.節(jié)目
36.電視視覺語言的最小單位是( )。
A．畫面 B ．鏡頭
C.形象 D.詞匯
32.影視劇中的“主觀鏡頭”指的是( )。
A．?dāng)z像師的視角 B ．導(dǎo)演的視角
C．角色的視角 D ．觀眾的視角
38．電視敘事、抒情的藝術(shù)手段主要體現(xiàn)為( )。
A．聲音 B ．廁面
C．主持 D.聲畫結(jié)合
39．電視連續(xù)劇《圍城》改編自( )的同名長(zhǎng)篇小說。
A．老舍 B ．錢鐘書
C．張恨水 D.賈平凹
40．中國的芭蕾舞表演藝術(shù)家( )被稱為中國的第一只“白天鵝”。
A．胡蓉蓉 B ．薛菁華
C. 白淑湘 D ．石鐘琴
41．中國的舞蹈作品《雀之靈》，是中國舞蹈家( )的代表作。
A．刀美蘭 B.楊麗萍
C．馬惠仙 D ．楊桂珍
42 回憶和描寫公孫大娘舞劍器情景的《觀公孫大娘弟子舞劍器行》一詩，是詩人( )
所作。
A．李白 B ．杜甫
C.李賀 D ．白居易
43 ．戴愛蓮先生創(chuàng)作的舞蹈( )，是我國第一部根據(jù)敦煌壁畫中“香音女神”的形象
創(chuàng)作的舞蹈作品。
A．《雙飛天》 B ．《童子飛天》
C．《飛天》 D ．《六臂飛天》
44．舞劇《絲路花雨》中的敦煌舞姿，呈現(xiàn)了敦塢石窟壁畫藝術(shù)特有的( )特征。
A．回旋動(dòng)態(tài) B ．字形曲線
C．仰俯動(dòng)態(tài) D ．S 形曲線
二、多項(xiàng)選擇題(共8 題，每小題 2分，共 16 分。以下各題五個(gè)選項(xiàng)中，至少有 2個(gè)選確)
45．劉天華是我國的民族器樂家，下列作品中 是由他創(chuàng)作的名曲。
A ．《二泉映月》 B. 《良宵》
C ．《廣陵散》 D 《光明行》
E ．《蔭中鳥》
46．意本利文藝復(fù)興藝術(shù)采用了——等科學(xué)手段。
A.透視學(xué) B ．化學(xué)
C.解剖學(xué) D.光學(xué)
E ．?dāng)?shù)學(xué)
47．科學(xué)的藝術(shù)設(shè)計(jì)方法是為了( )。
A ．提高工作效率 B. 提高設(shè)計(jì)質(zhì)量
C.設(shè)計(jì)者的能動(dòng)作用 D ．確定設(shè)計(jì)選題
E ．明確設(shè)計(jì)任務(wù)
48．戲劇的基本功能有( )。
A.審美功能 B.娛樂功能
C ．間離功能 D.流功能
E.教育功能
49．下列元代雜劇作品中，根據(jù)唐傳奇改編的有( )。
A. 《西廂記》 B. 《望江亭》
C ．《倩女離魂》 D. 《救風(fēng)塵》
E ．《墻頭馬上》
50．在電影攝制中，“搖鏡頭”的運(yùn)動(dòng)是指( )。
A ．上下?lián)u B.推拉鏡頭
C ．事右搖 D.旋轉(zhuǎn)
E.跟鏡頭
51．影視光源主要包括( )。
A.順光 B.逆光
C. 自然光 D.人工光
E．氣氛光
52．中國舞劇《小刀會(huì)》( )。
A ．反映19 世紀(jì)50 年代太平天國運(yùn)動(dòng)
B ．反映天地會(huì)農(nóng)民起義運(yùn)動(dòng)
C．表現(xiàn)農(nóng)民黃巾起義的內(nèi)容
D ．表現(xiàn)反抗帝國主義和清朝封建統(tǒng)治的主題
E ．表現(xiàn)農(nóng)民領(lǐng)袖洪秀全組織窮苦百姓武裝起義的內(nèi)容
三、英語閱讀理解（共15 題，每小題2 分，滿分30 分）
Part I Reading Comprehension
Directions: There are three reading passages in this part. Each passage is followed by some questions or unfinished statements. For each of them there are four suggested answers marked A, B,C and D. Choose the best answer to each question. Questions 1 to 5 are based on the following passage: ( 10 分 )
Every artist knows in his heart that he is saying something to the public. Not only does he wantto say it well, but he wants it to be something which has not been said before. He hopes the publicwill listen and understand--he wants to teach them, and he wants them to learn from him. Whatvisual artists like painters want to teach is easy to make out but difficult to explain, because painterstranslate their experiences into shapes and colors, not words. They seem to feel that a certainselection of shapes and colors, out of the countless billions possible, is exceptionally interesting forthem and worth showing to us. Without their work we should never have noticed these particularshapes and colors, or have felt the delight which they brought to the artist. Most artists take theirshapes and colors from the world of nature and from human bodies in motion and repose; theirchoices indicate that these aspects of the world are worth looking at, that they contain beautifulsights. Contemporary artists might say that they merely choose subjects that provide an interestingpattern, that there is nothing more in it. Yet even they do not choose entirely without reference to thecharacter of their subjects. If one painter chooses to paint a gangrenous (生壞疽的) leg and another alake in moonlight, each of them is directing our attention to a certain aspect of the world. Eachpainter is telling us something, showing us something, emphasizing something---all of which meanthat, consciously or unconsciously, he is trying to teach us.
53. All artists are common in that （ ）
A. they use shapes and colors instead of words
B. they are trying to teach the public
C. whaat they want to teach is difficult to explain
D. they want to learn from the public
54. A painter chooses certain shapes and colors out of the countless billions possible because he believes they （ ）
A. are beautiful B. can bring delight to him
C. are worth showing to the public D. are particular
55. Contemporary artists choose subjects
A. without reference to the character of their subjects
B. that only provide the interesting pattern
C. that there is no meaning in it
D. partly for the meaning of the subjects
56. Comparing the painter who paints a gangrenous leg with the one who paints a lake in
moonlight, we can draw the conclusion that （ ）
A. both convey the same meaning B. both show certain aspects of the world
C. the latter is more meaningful D. the former is more meaningful
57. According to the passage, which of the following statements is true?
A. The public could share the artist's feelings through their choice of shapes and colors.
B. The painter should not choose to paint ugly things.
C. Contemporary artists are completely different from other artists.
D. All artists are teaching the public consciously.
Questions 6 to 10 are based on the following passage: (10 分)
In previous generations, young people were under their parents' control; now the teenagechildren of the West's richest generation were ready for something to get excited about.
The Beatlessimply put a spark to a fuse (導(dǎo)火線) that was waiting to be lit.
Everything changed, and what changed for the Beatles was their lives and their working
habits,in the midst of the hysterical (歇斯底里的)following the band attracted.. Because of the
demand ofthe fans to see them perform, they played bigger and bigger venues (meeting places),
especially inAmerica.
But John, Paul, George and Ringo became increasingly unhappy that, because of the
screamingof their fans, neither the band nor the audience could hear the music. Creatively
frustrated and tiredof the pressures of life under siege (圍攻) from their fans, they retired from
playing concerts in 1966and decided to concentrate on recording.
It was from this point that the brilliance of the Beades really began to reveal itself: they
wouldrecord over their career some 200 songs. Never before nor since has any recording and
writing groupeven developed and yet remained the same in the way the Beades did.
Their songs never lost their universal appeal thanks to the warmth and timelessness of
theirmelodies and lyrics.
John and Paul were powerful singers with distinctive styles. It became apparent that, despite thefact that the songwriting credits were always equally attributed to them, Paul and John wrote andsang their own songs. George also contributed two or three of his own compositions to each of theBeatles eleven albums. Even Ringo wrote and sang the occasional song.
58. Which of the following is NOT true about the Beatles according to the passage?
A. They made the young people of their time very excited.
B. They attracted a large following wherever they played.
C. They were always pleased with their popularity.
D, No other pop music group had ever recorded or written as many songs as they did.
59. It can be inferred from the passage that （ ）
A. John and Paul were more talented and made greater contribution to the success of the band
B. John and Paul sang their own songs because they didn' like each other's style
C. George and Ringo never composed or sang theii" own songs
D. The Beatles maintained so much popularity with their works that no other recording or
writing group could Compare
60. It is implied in the third paragraph that( )
A. the Beatles had no appetite for fame
B. the audience were unhappy about the sound effect
C. pop musicians get easily fired as they are under great pressures of life
D. the screaming of the fans prevented the Beafles fromperforming happily and creatively
61. The Beatles'outstanding qualities were really shown when( )
A. they concentrated on recording and composition
B. they played on the American continent
C. they played their own lyrics and melodies on the stage
D. they sang on the stage pop songs they wrote themselves
62. What can we learn about the Beafles' music?
A. It was a fine examPle of music for simple singalong songs.
B. Its appeal was not limited to any particular time or group of people.
C. It was simple in form but rich in meaning.
D. It reached a height which other pop music groups had never reached for their lyrics and melodies.
Questions 11 to 15 are based on the following passage: ( 10 分 )
In the United States, it is important to be on time, or punctual, for an appointment, a class, a meeting, etc. However, this may not be true in all countries. An American professor discovered this difference while teaching a class in a Brazilian university. The two-hour class was scheduled to begin at 10 a.m. and end at 12. On the first day, when the professor arrived on time, no one was in the classroom. Many students came after 10 a.m. Several arrived after 10:30 a.m. Two students came after 11 a.m. Although all the students greeted the professor as they arrived, few apologized for their lateness. Were these students being rude? He decided to study the students' behavior.
The professor talked to American and Brazilian students about lateness in both an informal and a formal situation: at a lunch with a friend and in university calls, respectively. He gave them anexample and asked them how they would react. If they had a lunch appointment with a friend, the average American student showed clearly lateness as 19 minutes:after the agreed time. On the otherhand, the average Brazilian student would be 33 minutes late.
In an American university, students are expected to arrive at the appointed hour. In contrast, inBrazil, neither the teacher nor the students always arrive at the appointed hour. Classes not onlybegin at the scheduled time in the United States, but also end at the scheduled time. In the Brazilianclass, only a few students left the class at 12:00; many remained past 12:30 to discuss the class andask more questions. Arriving late may not be very important in Brazil, neither is staying late.
63. The American professor studied the Brazilian students' behavior because （ ）
A. he felt angry at the students' rudeness
Bhe felt puzzled at the students' being late,
C. he wanted to collect data for his research
D. he wanted to make students come on time later
64. Which of the following is NOT true according to the passage?
A. Both American and Brazilian students will often be late for a lunch appointment.
B. Classes begin and end at the scheduled time in the United States.
C. Brazilian teachers don't mind staying late after class.
D. Brazilian students usually arrive late and leave early.
65. What can we infer from the professor's study of lateness in the informal situation?
A. Neither Brazilian nor American students like to be late in social gatherings.
B. American students will become impatient if their friend is ten minutes late.
C. Being late in one culture maynot be considered rude in another culture.
D. Brazilian students will not come thirty-three minutes after the agreed time.
66. From the last paragraph we know that in Brazil, （ ）。
A. it is acceptable for professors to be late for class
B. it is rude to keep a professor staying after class
C. it is important to arrive at the appointed time
D. it is Normal for students to leave during lectures
67. What does this passage tell us?
A. People learn the importance of time from the country in which they live.
B. The importance of being on .time differs among cultures.
C. Students being late for class should explain the reason to their teacher.
D. It is important to come to class on time in the united States.
四、論述題(A、B 兩組各選一題，每小題 30 分，共 60 分，每題論述字?jǐn)?shù)在 600 字左右)
A 組
1．簡(jiǎn)要論述藝術(shù)的民族性和世界性的關(guān)系。
2．試論基礎(chǔ)訓(xùn)練對(duì)于提升藝術(shù)創(chuàng)造能力的重要性。
3．聯(lián)系實(shí)例，談?wù)勀銓?duì)藝術(shù)傳統(tǒng)的認(rèn)識(shí)。 ．
4．聯(lián)系實(shí)例，談?wù)勀銓?duì)藝術(shù)的社會(huì)功能的理解。
B 組
1．簡(jiǎn)論貝多芬在歐洲音樂的地位。
2．簡(jiǎn)論“小劇場(chǎng)戲劇”的藝術(shù)特征。
3．簡(jiǎn)論戲曲表演程式。
4．簡(jiǎn)論電影藝術(shù)的視聽語言特征?！?BR> 5．簡(jiǎn)論廣播電視中技術(shù)與藝術(shù)的關(guān)系。
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