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．劉天華是我國著名的民族器樂家，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λ囆g(shù)傳統(tǒng)的認(rèn)識。  ．
4．聯(lián)系實(shí)例，談?wù)勀銓λ囆g(shù)的社會(huì)功能的理解。

B 組
1．簡論貝多芬在歐洲音樂史上的地位。
2．簡論“小劇場戲劇”的藝術(shù)特征。
3．簡論戲曲表演程式。
4．簡論電影藝術(shù)的視聽語言特征�！�
5．簡論廣播電視中技術(shù)與藝術(shù)的關(guān)系。
6．簡論廣場民間舞和劇場民間舞之間的異同。
7．簡論抽象繪畫的特征。
8．簡論從事藝術(shù)設(shè)計(jì)工作應(yīng)有的知識結(jié)構(gòu)。

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