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北京师范大学2011年在职人员攻读体育硕士专业学位研究生招生简章
来源：233网校&&&【233网校：中国教育考试第一门户】&&&日
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北京师范大学2011年在职人员攻读体育硕士专业学位研究生招生简章
　　北京师范大学是一所教学与科研力量居全国一流水平的著名重点大学，有逾百年办学历史。目前学校已成为我国培养高层次专门人才和进行多学科、高水平科学研究的重要基地。（） 　　北京师范大学体育与运动学院下设体育学系、运动学系、体育与健康系以及体育人文科学研究所和体育教育研究所。国际奥林匹克委员会执委、中国奥林匹克委员会名誉主席何振梁先生担任学院名誉院长。学院现有体育人文社会学、运动人体科学、体育教育训练学和民族传统体育学4个硕士学位点以及体育人文社会学博士点。学院师资力量雄厚，教学资源丰富，被国务院学位委员会办公室首批授权招收体育硕士专业学位研究生。 　　一、招生宗旨 　　为提高中华民族的健康素质，培养适应我国社会、经济、文化和体育事业发展需要的高层次、应用型体育专门人才，改革和完善体育学学位与研究生教育制度，2005年国务院学位委员会决定在我国设置体育硕士专业学位。 　　体育硕士专业学位获得者应较好地掌握体育专业基本理论和相关学科知识，具有扎实的体育人文社会学和运动人体科学及体育教学与训练相关领域的理论基础，熟悉体育领域重大实际问题的产生原因、表现形式和发展动态，具有较强的运用现代科学理论和方法解决体育运动实际问题的能力，能够胜任体育教学、运动训练和社会体育指导等领域的实际工作。 　　二、招生领域及拟招生人数 　　2011年我校招收60名体育硕士，其中的体育教学40人，运动训练20人。 　　三、课程学习及学位授予 　　体育硕士专业学位研究生的培养，采取在职兼读的非全日制方式。学习年限2―4年，学习分课程学习和论文撰写两个阶段。课程阶段利用入学后的两个暑期集中授课。课程设置和教学内容注重理论知识与应用能力培养紧密结合、人文精神与科学精神培养紧密结合、专业素质和综合素质培养紧密结合，突出技能培养，强调应用能力和体育素质的提高。 　　学位论文的选题要紧密结合学校体育、竞技体育的教学、训练、组织及指导实际，注重针对性、实用性，并具有一定的理论性。论文形式可以是专题研究报告、典型案例分析、体育教学与训练和重大竞赛活动实施方案等。 　　课程考试合格，修满规定的学分，学位论文答辩通过，符合学位授予条件者，授予体育硕士专业学位，颁发国务院学位委员会办公室统一印制的硕士学位证书。 　　四、报考条件、报考资格审查及报名时间 　　1、报考条件 　　日前国民教育序列大学本科或本科以上毕业并取得毕业证书（一般应有学位证书）、具有体育运动实践经验的在职人员；或者日前国民教育序列大学专科毕业并取得毕业证书、具有“运动健将”以上运动技术等级的在职人员。 　　专科毕业者录取人数一般不超过本校当年招生限额的10%。 　　符合报考条件的人员，资格审查表由所在单位人事部门填写推荐意见。 　　2、报名办法 　　报名采取网上报名与现场确认相结合的方式。 　　网上报名。考生在日至14日期间登录“中国学位与研究生教育信息网”（一下简称“学位网”，），按要求填写、提交报名信息（）、上传本人电子照片（），北京地区考生还须网上提交报名费80元(外地考生的报名费，请按照当地规定方式提交)。考生网上报名成功后，自行打印报名系统生成的《2011年在职攻读硕士学位报名登记表》，在7月15日至18日期间到指定的现场确认点(网上报名成功后得到的具体确认地点信息提示)验证、确认报名信息。 　　现场确认。现场确认时，考生须持规定的身份证件（第二代居民身份证或护照）至现场确认点，由工作人员核验，通过第二代居民身份证鉴别仪验证报名信息，并提取第二代居民身份证内数码照片文件（持护照者除外），本人在报名系统打印生成的《2011年在职人员攻读硕士学位报名登记表》上签字确认。报名信息已经签字确认，一律不得更改。 　　所有报名考生应在规定的报名期限内进行网上报名和现场确认，逾期不予办理。只完成网上报名，但未在规定时间内办理现场确认手续的，本次考试报名无效。 　　考生既可在工作单位所在地就近选择指定的报考点报名、考试，也可在北京市的指定地点报名、考试。 　　10月15日后，考生可在学位网下载准考证。 　　3、报名证件要求 　　根据学位办[2011]28号文件，参加此项考试的居住在中华人民共和国境内的公民规定使用的有效身份证件为第二代居民身份证，其他人员规定使用的有效证件为港澳台身份证件、华侨身份证和外籍护照。 　　根据《现役军人和人民武装警察居民身份证申领发放办法》（国务院、中央军委第510号令，日起施行）第十一条规定，“现役军人、人民武装警察从事有关社会活动，需要证明公民身份的，凭居民身份证证明；执行任务、办理公务、享受抚恤优待等，需要证明现役军人或者人民武装警察身份的，凭军队、武装警察部队制发的身份证明”。因此，现役军人、人民武装警察报名参加此项考试，也须持第二代居民身份证报名，否则不予报名。 　　4、报考资格审查 　　（1）报考材料： 　　以国民教育序列大学专科毕业身份报考的考生，现场确认后须在规定时间内向我校提交以下材料：1本人最后学历和学位证书的复印件；2“运动健将”以上运动技术等级证书的复印件。 　　交材料时间：日至10月29日(双休日除外)。 　　交材料地点：北京师范大学体育与运动学院研究生办公室(体育馆302、328室) 　　邮寄报考支撑材料者须把上述所有材料，用挂号信寄到北京师范大学体育与运动学院研究生办公室(体育馆302、328室)(邮编：100875，电话：010―)。 　　考生邮寄报考材料后，可在我校研究生院网上查询是否收到等有关信息。未交报考材料考生将不予录取。 　　（2）考试成绩发布后，符合我校发布的复试基本分数线要求、进入复试名单的考生，登录学位网下载本人《2011年在职人员攻读硕士学位全国联考资格审查表》，本人签名后，请所在单位人事部门（或档案管理部门）核准表中内容、填写推荐意见，并在电子照片上加盖公章。 　　复试报到时需提交以下材料： 　　①有效身份证件原件（第二代身份证或护照）； 　　②相关学历、学位证书原件；如考生持境外学历、学位报考，资格审查时须提交教育部留学服务中心出具的认证报告。 　　③签字盖章后的《2011年在职人员攻读硕士学位全国联考资格审查表》。 　　④提交的获奖证书及“运动健将”以上运动技术等级证书的原件 　　提醒：以上材料请提前准备好，如不能按期提交上述材料，将不允许进行复试，不予录取。 　　按照国务院学位委员会办公室文件规定，考生在网上报名前应进行资格自审，我校在录取前也将对考生进行资格审查。不符合报考条件或提供虚假信息的考生，不予录取。责任由考生自负。 　　五、入学考试 　　考试分全国联考和复试两个阶段。 　　1、联考科目 　　全国联考科目为体育硕士专业学位研究生入学资格考试（含体育综合、英语）,复习教材为：《体育硕士专业学位研究生入学资格全国联考考试大纲及指南》（中国人民大学出版社，2011版）。 　　2、联考时间 　　日（详细联考时间请点击查阅），具体安排见准考证。 　　3、考试地点 　　报名点所在省(自治区、直辖市)主管部门安排考试地点。具体考试地点见准考证。 　　4、复试科目及时间 　　复试的科目为政治理论、专业知识和专业技能。复试由我校自行命题，于2012年初在校内进行考试。具体复试时间另行通知。 　　复试专业课考试科目和参考书目见下表：
专业课考试科目
1.专业综合素质
2.专业技能
1.《体育教学论》，毛振明主编，高等教育出版社，2005年
2.《体育科学研究方法（第二版）》 ,黄汉升主编,高等教育出版社
1.专业综合素质
2.专业技能
1.《田径》、《体操》、《篮球》、《排球》、《足球》、《乒乓球》、《武术》， 高等教育出版社
2.《体育科学研究方法（第二版）》 ,黄汉升主编,高等教育出版社　　*欲购参考书的考生，可与硕博考研书店联系购书（网址：；电话：010―）。 　　六、录取 　　我校根据考生的联考成绩和复试情况择优录取60人。未被录取的考生可联系北京市的其他招生单位调剂录取。考生于2012年7月入学后，利用暑期上课。 　　学费总计2.8万元，其中课程阶段学费1.8万元；论文阶段学费1万元。 　　七、咨询电话 　　体育与运动学院咨询电话：010―； 　　研究生院专业学位处：（010），邮箱：zhyxw@。
来源:233网校-责编:cll&&&
[复试] |||||
4月23日 9:42
在职研究生一般是几年丫，学费是多少啊~~~
4月23日 9:39
单词是具备一定的听、说、读、写能力的基础，又该如何迅速扩大词汇量呢？大家有什么好的记忆方法...
4月23日 9:38
2013年在职工程硕士什么时候报名丫~~~
4月23日 9:37
在职联考其实是一种综合实力和心理状态的双重竞争，那么怎样才能从心理和技巧上面对考试？
4月22日 14:38
2013年在职工程硕士考试学费是多少啊
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文件类型：2011年在职艺术硕士联考试题(真题)A卷、B卷答案
&<span style="color: #ff年艺术中国MFA共押中论述题8道，其中A组2道，B组6道
北京各大院校复试保过现已启动，咨询、联系火热进行中！
欢迎来电咨询、预约：010-
地址：北京市清华科技园东升大厦C座128室
2011年在职艺术硕士联考答案A卷答案
一．单项选择题：
1.&曹禺的（&&& ）具有浓厚的古希腊悲剧色彩。
&& A.《北京人》&B. 《原野》&C.《雷雨》&&D.《日出》
2. 古希腊悲剧诗人索福克勒斯的代表是（&&& ）。
&&&& A. 《背负的普罗米修斯》。&& &B.《俄狄浦斯王》&&&C. 《美狄亚》&&& D.《安德罗马克》
3. （&&& ）不是俄国剧作家契科夫的剧作。
&&& A. 《无辜的罪人》&&B. 《海鸥》&& C. 《万尼亚舅舅》&D. 《樱桃园》
4.&& 被称为易卜生最精典的现实主义作品是（&&& ）。
A.&《社会支柱》&&& B. 《人民公敌》&&C. 《玩偶之家》&&D. 《群鬼》
5.&&& 老舍以旧北京为背景，反应小人物命运，成为&京味&话剧奠基作品的是（&&& ）。
&&&& A．《龙须沟》&&&&B.&《茶馆》&&&& C.&& 《方珍珠》&&&& D. 《全家福》
6.&《汉堡剧义》的作者是（&&& ）。
A．& 莱辛&&&B.&& 博马舍&&&&& C.席勒&&&&& D. 布莱希特
7.&& 戏曲艺术的基本特征不包括（&&& ）。
&&& A.&综合性&& B.&虚拟性&& &C.&歌舞性&&& D. 程式性
8.&&& 戏曲舞台上表现策马飞奔的表演程式称为（&&& ）。
&&& A．趟马&&&&& B.&& 走边&&&& C.&档子&&&& D. 出于
9. 由清乾隆年间的梆子腔演员魏长生创造出来的戏曲表演基本功是（&&& ）。
A．甩发&&&& B.&变脸&&&& C.&跷功&&&&&D. 翎子功
10. &南麒北马关东唐&中的唐是（&&& ）。
A.&& 唐韵笙&&&&&B.&唐喜成&& C.&骆玉笙&&& D. 唐韵生
11. 法国作家伏尔泰1755创作的中国题材的剧作受到元杂剧（&&& ）的影响。
&&& A. 《赵氏孤儿》&&& B.&《单刀会》&& C.&& 《墙头马上》&D. 《八义记》
12.白居易诗中&飘然转旋回雪轻，嫣然纵送游龙惊，小垂手后柳无力，斜曳裾时云欲生&。描绘的是古代的著名舞蹈（&&& ）。
&&& A．《绿腰舞》&&& B. 《胡旋舞》&&& C. 《七盘舞》&&& D. 《霓裳羽衣舞》
13.东北秧歌舞蹈的开头和结尾称为（&&& ）。
&&&A．川龙&&&B. 大场&& C.&跑鞭&D.小场
14.中国芭蕾舞剧《红色娘子军》首演于（&&& ）。
A. 1968年&&&&& B.&1964年&&&C.&1960年&& D. 1954年
15. &花鼓灯&是流传于我国（&&& ）的舞蹈形式。
A．晋南地区&&&& B. 闽南地区&&&&& C.&& 淮河地区&&&& D.湘江流域
16. （&&& ）创造了形成最早、影响最大的西方现代舞技术流派和训练体系。
&&& A．保罗泰勒&&& B.&霍塞林蒙&C. 默斯坎宁汉D. 玛莎格雷厄姆
17. 我国商和西周手工生产较为典型的行业是（&&& ）。
&&& A. 青铜制造业&&B. 纺织业&C. 玉器加工业&D.陶瓷业
18.中国古代的&意匠&之说主要指（&&& ）。
&&& A．匠人之意&&&& B.&匠人意趣&& C. 手艺精细&& D.精心构思
19. 称之为&剔红&的雕漆工艺，是在（&&& ）后再行雕刻的。
A.&胎型上数次涂朱色大漆&&&&&& B.&瓷胎上涂薄层红漆&&&&
C.&木胎上刷一层红色大漆&&&&&& D.&铜胎上涂少许红漆
20.云锦的历史悠久且纹样瑰丽如彩云，其产地是在中国的（&&& ）。
A．苏州&&&&& B. 杭州&&&& C.&&& 昆明&&& D.&南京
21. 包豪斯时代&艺术与技术的新统一&，是（&&& ）的主张之一。
A.威廉莫里斯&&&& B.米斯凡德罗&&&&&& C.格罗比乌斯&&&&&D.伊顿&
22.室内设计的专业内容是（&&& ）内部空间装修、陈设的综合设计。
&&&&&&& A.建筑&&&&&&B.物品&&&&&& C.景观&&&&& D.厅堂
23.电视的开放式构图指（&&& ）。
&&&&&&& A.景物构图&&&&&& B.人物构图&&&&&& C.镜头内构图&&&& &D.镜头内外构图
24. （&&& ）是指影视剧拍摄中的主观镜头。
&&&&&&& A.导演视角&&&&&& B.观众视角&&&&& &C.角色视角&&&&&D.摄像师视角
25.《大国崛起》属于（&&& ）。
&&&&&&& A.电视专题片&&&&&& B.电视新闻片&&&&&& C.电视文化片&&&&&&D.历史电视剧
26.&虚拟演播室&主要用于（&&& ）的拍摄。
&&&&&&& A.虚拟表演&&&&&& B.计算机虚拟场景&&&&&& C.真实再现&&&&& D.游戏广告
27.中央电视台的《正大综艺》是电视综艺节目的标志之一，与泰国正大集团联合制作，始播于（&&& ）。
&&&&&&& A.1985年&&&&& &B.1990年&&&&&&C.1992年&&&&& D.1995年
28. （&&& ）是古琴曲。
&&&&&&& A.《中花六板》&&&& B.《百鸟朝凤》&&&& C.《广陵散》&&&&&D.《海青拿天鹅》
29.歌剧《魔笛》的曲作者是（&&& ）。
&&&&&&& A.莫扎特&&&&&&B.贝多芬&&&&&& C.肖邦&&&&& D.李斯特
30.波罗乃兹舞曲和（&&& ）是肖邦钢琴曲中最富有民族特色的作品。
&&&&&&& A.圆舞曲&&&&& &B.玛祖卡舞曲&&&&&&C.波尔卡舞曲&&&&& D.探戈舞曲
31.德彪西是法国（&&& ）音乐代表人物。
&&&&&&& A.古典主义&&&&&& B.浪漫主义&&&&&&C.印象主义&&&&& D.现代主义
32. 在电影中的&移镜头&是指（&&& ）。
&&&&&&& A.摄影机沿着光轴方向后移拍摄&&&&&&&&& &B.摄影机沿着水平方向运动拍摄&
&&&&&&& C.摄影机在空间中上下运动拍摄&&&&&&&&&& D.摄影机向被摄体逐渐靠近
33.在电影中交叉蒙太奇是指（&&& ）。
&&&&&&& A.不同时间空间的情节线索并列出现、分别叙述&&&
&&&&&&& B.同一时间的情节线索齐头并进、频繁交替&&&&
&&&&&&& C.按照事件发生的逻辑顺序连续叙述
&&&&&&& D.按照事件发生的反向逻辑分别叙述
34.影片《定军山》是（&&& ）。
&&&&&&& A.神话题材&&&&&& B.现实题材&&&&&& C.戏曲题材&&&&&D.喜剧题材
35.意大利&新现实主义电影&出现在（&&& ）。
&&&&&&& A.第二次世界大战之前&&&& B.第二次世界大战之后&& &
&&&&&&& C.20世纪50年代&&&&&&&&& D. 20世纪60年代
36.富于装饰性的传统山水画统称为（&&& ）。
&&&&&&& A.青绿山水&&&&&& B.泼墨山水&&&&&& C.工笔山水&&&&& D.水墨山水
37.吴镇是（&&& ）的四大家之一。
&&&&&&& A.金陵&&&&&& B.元代&&&&&&C.海派&&&&& D.浙派
38.中国北派山水画雄伟风格的人物有（&&& ）。
&&&&&&& A.李成&&&&&&B.苏轼&&&&&& C.文同&&&&& D.李公麟
39.中国美术史上常因构图独特而将马远与（&&& ）的名字并列。
&&&&&&& A.范宽&&&&&& B.夏奎&&&&&&C.倪瓒&&&&& D.宋徽宗
40.鲁本斯是（&&& ）画派领袖。
&&&&&&& A.洛可可&&&&&& B.巴黎&&&&&& C.弗兰德斯&&&&&D.巴比松
41.巴洛克鼎盛于（&&& ）世纪。
&&&&&&& A.19&& &&&&B.18&&&&&& C17.&&&&& D.15
42.新媒体艺术是（&&& ）结合的新艺术形态。
&&&&&&& A.艺术和信息科技&&& B.绘画和工艺美术&&& C.造型和装饰&& D.信息和科技
43.下列戏曲作品中，表现水浒英雄故事的是（&&& ）。
&&&&&&& A. 《挂画》&&&&& B.&《蜈蚣岭》&&&& C.&《反五关》&&& D. 《龙虎斗》
44. &筷子舞&具有我国（&&& ）舞蹈的特色.
&&&&&&& A.&汉族&&&& B.&傣族&&& &C.&蒙古族&&& D.藏族
二．多项选择题：
45. 现代派戏剧主要包括（&&& ）。
A. 现实主义戏剧&&&&& B. 浪漫主义戏剧&&&&& C.&象征主义戏剧&&&&&& D. 存在主义戏剧&&&&& E.表现主义戏剧
46. 入选联合国教科文组织，&人类非物质文化遗产代表作名录&的戏曲剧种是（&&& ）。
A. 豫剧&&&&& B. 京剧&&&&& C.&昆曲&&& D.&粤剧&& E.秦腔
47. 巴兰钦具有深厚的音乐素养，其创作的作品充满了音乐感和诗意，被称为（&&& ）。
A. 音乐芭蕾&&& B. 抽象芭蕾&&&C. 浪漫芭蕾&& D. 交响芭蕾&& E.古典芭蕾
48. 流行色的主要作用在于（&&& ）。
A.&指导消费&&&&B.&& 决定价值&&& C. 营造品牌&&&&D. 影响设计&&&&& E.提供信息
49. &三网合一&指以下网络中的（&&& ）的融合
A.&电信网络&&&&&& B. 计算机网络&&&&& C.&广播电视网&&&& D. 电影发行网络&&& E.邮政网络
50. 表现蒙太奇的目的表达情感和揭示意义，一般认为表现蒙太奇包含了（&&& ）。
A.&对比蒙太奇&&&&&&B.平行蒙太奇&& C. 隐喻蒙太奇&&&&& D.&心理蒙太奇&&&&&&E.交叉蒙太奇
51.从18世纪以来，艺术（art）包括（&&& ）等
A.文学&&&& B. 美术&&& C.&& 音乐&&D. 建筑&&&&E.戏剧
52．以下作品中（&&& ）是由黄自创作的
A. 《黄河》大合唱&&&& &B.&《长恨歌》&& &&C. 《黄泥湾》&&&& D. 《玫瑰三愿》&&&&&&& E. 《牧童短笛》
三、英语阅读理解（每小题2分，共30分）
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, Bt C and D. Choose the best answer to each question.
Questions 53 to 57 are based on the following passage: (10 分）
Friends play an important part in our lives, and although we may take the friendship for granted, we often don't clearly understand how we make friends. While we get on well with a number of people, we are usually friends with only a very few. for example, the average among students is about 6 per person. In all the cases of friendly relationships, two people like one another and enjoy being together, but beyond that, the degree of intimacy between them and the reasons for their shared interest vary enormously. As we get to know people we take into account things like age, race, economic condition, social position, and intelligence. Although these factors are not of prime importance, it is more difficult to get on with people when there is a marked difference in age and background.
Some friendly relationships can be kept on argument and discussion, but it is usual for close friends to have similar ideas and beliefs, to have attitudes and interests in common&they often talk about &being on the same wavelength&. It generally takes time to reach this point. And the more intimately involved people become, the more they rely on one another. People want to do friends favors and hate to break a promise. Equally, friends have to learn to put up with annoying habits and to tolerate differences of opinion.
In contrast with marriage, there are no friendship ceremonies to strengthen the association between two people. But the supporting and understanding of each other that results from shared experiences and emotions does seem to create a powerful bond, which can overcome differences in background, and break down barriers of age, class or race.
53.&& According to the author________.
A.&all those who get on well with each other are friends
B.&friends are closer than people who just get on well with each other
C.&everyone understands clearly how to make friends
D.&every student has 6 friends
54.&& When we make friends, we consider such things as age, race, and background, because________.
A.&it is not easy to have a friendly relationship with people when there is a marked difference in age and background
B.&the degree of friendship between two people and the reasons for their shared interest can vary greatly
C.&friends need to know all these things
D.&these are the most important factors to make friends
55.&& In Paragraph 2, &being on the same wavelength& means_________.
A.&using the same frequency while talking
B.&keeping the same friendly relationship as other people do
C.&having similar ideas, beliefs, attitudes and interests
D.&having the same background
56.&& Which of the following is not implied in the passage?
A.&Even friends may have differences of opinion.
B.&Friends never argue with each other.
C.&It generally takes time for people to become close friends.
D.&Someone's habits may annoy his friends.
57.&& To strengthen friendly relationship, people_________.
A.&must hold friendship ceremonies
B.&have to eliminate differences in background
C.&should make friends with those who are of the same age and of the same race
D.&should support and understand each other through shared experiences and emotions
Questions 58 to 62 are based on the following passage: (10 分）
Mozart was born in what is now called Austria, but, at that time, it was part of the Holy Roman Empire. He was baptized the day after his birth at St. Rupert's Cathedral. His father Leopold was from Augsburg. He was a minor composer, and an experienced teacher. In the year of Mozart's birth, his father published a violin textbook, which achieved a great success.
In the fourth year of his age his father, for a game as it were, began to teach him a few minuets and pieces at the clavier. He could play it faultlessly and with the greatest delicacy, and keeping exactly in time. At the age of five, he was already composing little pieces, which he played to his father who wrote them down. While Leopold was a devoted teacher to his children, there is evidence that Mozart was keen to progress beyond what he was taught. His first ink-spattered composition and his efforts with the violin were of his own initiative and came as a surprise to Leopold. Leopold eventually gave up composing when his son's outstanding musical talents became evident. He was Mozart's only teacher in his earliest years and taught his children languages and academic subjects as well as music.
During Mozart's youth, his family made several European journeys in which he played at the court in Munich, and at the Imperial Court in Vienna. A long concert tour spanning three and a half years followed, taking the family to the courts of Munich, Paris, and London, During this trip, Mozart met a great number of musicians and acquainted himself with the works of other composers. These trips were often arduous. Travel condi the family had to wait for invitations and reimbursement from the nobility. They endured long, near-fatal illnesses far from home.
After one year father and son set off for Italy, leaving his mother and his sister at home. This travel lasted from December 1769 to March 1771. As with earlier journeys, Leopold wanted to display his son's abilities as a performer and a rapidly maturing composer. After finally returning with his father from Italy on 13 March 1773, Mozart was employed as a court musician by the ruler of Salzburg, Prince-Archbishop Hieronymus Colloredo. The composer had a great number of friends and admirers in Salzburg. Despite these artistic successes, Mozart grew increasingly discontented with Salzburg and redoubled his efforts to find a position elsewhere. One reason was his low salary. In August 1777，Mozart resigned his Salzburg position and, on 23 September, ventured out once more in search of employment, with visits to Augsburg, Mannheim, Paris, and Munich. Since Archbishop Colloredo would not give Leopold leave to travel, Mozart's mother Anna Maria accompanied him. Mozart became acquainted with members of the famous orchestra in Mannheim, the best in Europe at the time. He also fell in love with Aloysia Weber, one of four daughters in a musical family. There were prospects of employment in Mannheim, but they came to nothing& and Mozart left for Paris on 14 March 1778 to continue his search. One of his letters from Paris hints at a possible post as an organist at Versailles, but Mozart was not interested in such an appointment.
Mozart's new career in Vienna began well. He performed often as a pianist, notably in a competition before the Emperor on 24 December 1781，and he soon &had established himself as the finest keyboard player in Vienna&.
58. According to the author, Mozart began to show his talent in music composition_______.
A.&when he was at the age of five
B.&when he was at the age of four
C.&when he was bom
D.&when his father taught him music
59. Mozart's father was a devoted teacher to his children, because_________.
A.&he taught his children only music lessons
B.&he taught nobody else except his children
C&& he taught his children very well
D. he taught his children languages and academic subjects as well as music
60.&& When Mozart was young he made several European journeys with his families in which he played at the court_________.
A.&in Munich, Vienna, Paris and London
B.&in Munich, Vienna, Paris and Italy
C.&in London, Vienna, Paris and Italy
D.&in Munich, Vienna, Italy and London
61.&& Mozart grew discontented with Salzburg and tried to find another position because
A.&he was not interested in the position of the court musician
B.&he was not satisfied with his low salary
C.&he was not getting along well with the ruler of Salzburg
D.&He fell in love with Aloysia Weberhe in Mannheim
62.&& In the last paragraph, the last line, the phrase &the finest keyboard player& means_.
A.&the best violinist
B.&the best pianist
C.&the best composer
D.&the best organist
Questions 63 to 67 are based on the following passage: (10 分）
The Mona Lisa painting now hangs in the Musee du Louvre in Paris. The painting's increasing fame was further emphasized when it was stolen on 21 August 1911. The next day, Louis Beroud, a painter, walked into the Louvre and went to the Salon Carre where the Mona Lisa had been on display for five years. However, where the Mona Lisa should have stood, he found four iron pegs. Beroud contacted the section head of the guards, who thought the painting was being photographed for marketing purposes. A few hours later, Beroud checked back with the section head of the museum, and it was confirmed that the Mona Lisa was not with the photographers. The Louvre was closed for an entire week to aid in investigation of the theft.
French poet Guillaume Apollinaire, who had once called for the Louvre to be &burnt down,&
he was arrested and put in jail. Apollinaire tried to implicate his friend Pablo Picasso, who was also brought in for questioning, but both were later exonerated. At the time, the painting was believed to be lost forever, and it was two years before the real thief was discovered. Louvre employee Vincenzo
Peruggia had stolen it by entering the building during regular hours, hiding in a broom closet and walking out with it hidden under his coat after the museum had closed. Peruggia was an Italian patriot who believed Leonardo's painting should be returned to Italy for display in an Italian museum. Peruggia may have also been motivated by a friend who sold copies of the painting, which would skyrocket in value after the theft of the original. After having kept the painting in his apartment for two years, Peruggia grew impatient and was finally caught when he attempted to sell it to the directors of the Uffizi Gallery in F it was exhibited all over Italy and returned to the Louvre in 1913. Peruggia was hailed for his patriotism in Italy and only served six months in jail for the crime.
During World War n, the painting was again removed from the Louvre and taken safely, first to Chateau d'Amboise, then to the Loc-Dieu Abbey and Chateau de Chambord, then finally to the Ingres Museum in Montauban. In 1956，the lower part of the painting was severely damaged when a vandal doused the painting with acid. On 30 December of that same year, a young Bolivian named Ugo Ungaza Villegas damaged the painting by throwing a rock at it. This resulted in the loss of a speck of pigment near the left elbow, which was later painted over. The use of bulletproof glass has shielded the Mona Lisa from more recent, attacks. In April 1974& a handicapped woman, upset by the museum's policy for the disabled, sprayed red paint at the painting while it was on display at the Tokyo National Museum. On 2 August 2009& a Russian woman, distraught over being denied French citizenship, threw a terra cotta mug or teacup, purchased at the museum, at the painting in the L the vessel shattered against the glass enclosure. In both cases, the painting was undamaged.
63. According to the author, on 21 August 1911 the Mona Lisa painting was stolen by_______.
A.&the section head of the guard
B.&French poet Guillaume Apollinaire
C.&Pablo Picasso
D.&a Louvre employee called Vincenzo Peruggia
64. The thief was caught two years later_________.
A.&when he tried to sell it to the directors of the Uffizi Gallery in Florence
B.&when he returned to Italy with it hidden under his coat
C.&when it was exhibited all over Italy
D.&when he told it to his friend
65.&& In Paragraph 2，the last line, the word &patriotism& means_________.
A.&the love for his own family
B.&the love for his own country
C.&the love for other countries
D.&the love for the people all over the world
66.&& Which of the following is not implied in the passage?
A.&The Louvre was closed for a whole week because of the theft.
B.&The thief was put into prison for only six months,
C.&The Mona Lisa painting was removed from place to place for display.
D.&The Mona Lisa painting was attacked many times, so now it has been completely damaged.
67.&& The woman attacked the painting because_________.
A.&she was a handicapped woman
B.&she was a disabled woman
C.&she was made angry by the museum's policy for the disabled
D.&she was not permitted to go into the museum
&四、论述题
1、简论艺术创作与艺术欣赏的关系 &
2、简论艺术家的尊严 &
3、简述艺术专业学位教育和人才培养的现实意义 &
4、简述艺术文化生产中，如何适应市场和保持精神文化价值
1、简述20世纪40年代至60年代中国歌剧的创作&
2、简述正剧的三个特点&
3、简论戏曲程式
4、简述电影的再现和表现价值
5、简述新媒体与广播电视艺术的关系&
6、简述节奏在舞蹈表现中的作用&
7、简述绘画中的抽象因素
8、简述当代设计中本土文化要素的应用
此答案仅供参考，望对考生估分有所帮助
稍后我们还会为考生提供论述题详解！
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