1、在职硕士学位入学资格考试艺术硕士 MFA 真题 2013 年及答案解析(总分：150.00，做题时间：120 分钟)一、单项选择题（每小题 1 分，共 44 分）(总题数：44，分数：44.00)1.2013 年是英国作曲家布里顿诞辰 100 周年，他的着名管弦乐作品（ ）在全世界影响广泛。（分数：1.00）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。 （分数：1.00）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（ ），192
2、5 年被改编为民乐合奏曲。 （分数：1.00）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，通过着名歌唱家（ ）的演唱，使这首歌曲传遍全中国。 （分数：1.00）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。 （分数：1.00）A.莫扎特B.拉威尔C.德彪西D.李斯特6.舞蹈是（ ）。 （分数：1.00）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。 （分数：1.00）A.李群玉B.白居易C.杜
3、甫D.王维8.芭蕾舞作品天鹅之死是由（ ）创作的。 （分数：1.00）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。 （分数：1.00）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。 （分数：1.00）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（ ）。 （分数：1.00）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。（分数：1.00）A.法国B.俄国C
4、.英国D.德国13.江泰是曹禺先生剧本（ ）中的人物。 （分数：1.00）A.原野B.北京人C.雷雨D.日出14.亚里士多德的戏剧理论着作是（ ）。 （分数：1.00）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。 （分数：1.00）A.妮娜B.玛莎C.叶莲娜D.奥尔加16.玩偶之家是（ ）的作品。 （分数：1.00）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。 （分数：1.00）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。 （分数：1.00）A.包拯B.伍子胥C.许褚D
5、.张继保19.梨园是（ ）朝宫廷设置的专门训练乐工的机构。 （分数：1.00）A.清B.元C.宋D.唐20.南戏脚色的完整设置应为（ ）。 （分数：1.00）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（ ）。 （分数：1.00）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（ ）。 （分数：1.00）A.京剧B.昆曲C.粤剧D.秦腔23.现代的 DV 是指（ ）。 （分数：1.00）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
6、创作24.一般公认的香港电影迄今已经有（ ）。 （分数：1.00）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。 （分数：1.00）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（ ）。 （分数：1.00）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（ ）。 （分数：1.00）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。 （分数：1.00）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
7、常使用的是（ ）。 （分数：1.00）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（ ）。 （分数：1.00）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（ ）。 （分数：1.00）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（ ）。 （分数：1.00）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。 （分数：1.00）A.专题B.娱乐C.戏曲D.竞技34.断臂维纳斯是（ ）的着名雕塑。 （分数：1.00）A.古希腊B.古罗马
8、C.古埃及D.古印度35.青卞隐居图是（ ）的作品。 （分数：1.00）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。 （分数：1.00）A.王安石B.童书业C.董其昌D.俞剑华37.文同以画（ ）着称。 （分数：1.00）A.梅B.兰C.竹D.菊38.倒牛奶的女仆是（ ）画家维美尔的作品。 （分数：1.00）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。 （分数：1.00）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。 （分数：1.00
9、）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。 （分数：1.00）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。 （分数：1.00）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。 （分数：1.00）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。 （分数：1.00）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(总题数：8，分数：16
10、.00)45.以下歌剧作品中，属于意大利作曲家威尔弟的作品有（ ）。 （分数：2.00）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（ ）。 （分数：2.00）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（ ）。 （分数：2.00）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（ ）。 （分数：2.00）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（ ）。 （分数：2.00）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
11、口秀”栏目。 （分数：2.00）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。 （分数：2.00）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。 （分数：2.00）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）(总题数：3，分数：30.00)Questions 53 to 57 are based on the following passage: The Internet can m
12、ake 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, t
13、old 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
14、. You dont 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 in
15、formation for others to see.Anyone can say anything they want, whether its 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.
16、 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. （分数：10.00）(1).The main topic of this passage is （分数：2.00）A.the development of
17、journalismB.the effect of the internet has on journalismC.the rapid development of the internetD.the advantages of the internet(2).It can be inferred from this passage that may NOT be regarded as the advantages of the internet. （分数：2.00）A.the news can be made more democraticB.anything can be posted
18、on the internet for others to seeC.the public can turn to different sourcesD.the public can get a chance to ask questions(3). The correct order for the appearance of the four technologies is _ . （分数：2.00）A.internet-cable-television-radioB.radio-cable-television-internetC.radio-television-cable-inter
19、netD.television-radio-cable-internet(4).Which of the following statements is true? （分数：2.00）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
20、the comers of the street.D.The greatest potential of public participation of the internet is in the near future.(5).On the whole, the attitude Steven Case holds for the internets future development is _（分数：2.00）A.pessimisticB.unknownC.doubtfulD.optimisticQuestions 58 to 62 are based on the following
21、 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, lo
22、oked elsewhere for influence. Osbornes 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 energ
23、ies were beginning to coalesce （接合 ）， reviving interest in Irish culture-including Irish visual arts. Beatrice Elverys （1907）， a landmark achievement, merged the devotional simplicity of fifteenth-century Italian painting with the iconography （图像学） of Irelands Celtic past, linking the history of Iri
24、sh 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 fig
25、ure, 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 Orpens. Realism also crept into the
26、 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 trav
27、els 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 m
28、ost important Irish artist of his century. （分数：10.00）(1).Which of the following art most probably exerted the greatest influence on Irish painting in the 19th century? （分数：2.00）A.British lyrical traditionB.French avant-garde experimentC.nationalist energiesD.Italian painting(2).It is implied was lea
29、st influenced by the contemporary art of France. （分数：2.00）A.Sir John LaveryB.Sir William OrpenC.Beatrice ElveryD.Se Keating(3).Which of the following best explains the authors use of the word counterpoint in referring to Yeats? （分数：2.00）A.Yeats paintings differed significantly in subject matter from
30、 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 paintin
31、g tradition, elevating it to unprecedented artistic heights.(4).The author points out the coexistence of romanticism and realism most probably in order to show that _. （分数：2.00）A.Irish painters of the early twentieth century tended to romanticize the harsh reality of warB.for a time painters from ea
32、ch school influenced painters from the other schoolC.Yeats was influenced by both the romantic and realist schools of Irish paintingD.the transition in Irish painting from one predominant style to the other was not an abrupt one(5).The most likely topic of the paragraph followed is _（分数：2.00）A.The R
33、ole of Celtic Mythology in Irish PaintingB.Who Deserves Credit for the Pre-eminence of Yeats among Irish Painters?C.Realism vs Romanticism: Irelands Struggle for National IdentityD.Irish Paintings: Reflections of an Emerging Independent StateQuestions 63 t0 67 are based on the following passage: The
34、 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 Leona
35、rdos 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.
36、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
37、 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,
38、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
39、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 del
40、ay, 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 depiction
41、s 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 ar
42、ound 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. Di
43、stracted 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 paintin
44、g 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
45、 lost as the painting deteriorated. （分数：10.00）(1).As it is told in the Gospel of John, the painting represents_（分数：2.00）A.the scene of the last supper of Jesus with his twelve disciplesB.Leonardo met with the twelve disciples when Jesus announced that one of them would betray himC.an end wall of the
46、 dining hall at the monastery of Santa Maria delle Grazie in Milan, ItalyD.the centerpiece of the mausoleum for the Sforza family(2).Leonardo began work on The Last Supper in 1495 and completed it in _ . （分数：2.00）A.1496B.1497C.1498D.1499(3).In common with other depictions of The Last Supper from thi
47、s period, Leonardo seats the diners on one side of the table, so that_ （分数：2.00）A.his betrayer will take the bread at the same timeB.the disciples can talk to each other more easilyC.none of them have their backs to the viewerD.they can see each other more clearly(4).The painting contains several re
48、ferences to the number 3,which represents _ . （分数：2.00）A.the three windows behind JesusB.the shape of Jesus figure of a triangleC.the lucky number for ChristiansD.the Christian belief in the Holy Trinity(5).The Last Supper was painted by Leonardo da Vinci in the refectory of the Convent of Santa Mar
49、ia della Grazie,_. （分数：2.00）A.Milan in the l4th centuryB.Italy in the 15th centuryC.France in the 15th centuryD.London in the 14th century四、论述题（A、B 两组各限选一小趣，每小题 3(总题数：2，分数：60.00)53.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”. （分数：30.00）_54.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
