2. 外语
  3. "Popular art" has a number of meanings, impossible to define with any precision, which range from folklore to junk. The poles ar

"Popular art" has a number of meanings, impossible to define with any precision, which range from folklore to junk. The poles ar

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问题     "Popular art" has a number of meanings, impossible to define with any precision, which range from folklore to junk. The poles are clear enough, but the middle tends to blur. The Hollywood Western of the 1930’s for example, has elements of folklore, but is closer to junk than to high art or folk art There can be great trash, just as there is bad high art. The musicals of George Gershwin are great popular art, never aspiring to high art. Schubert and Brahms, however, used elements of popular music — folk themes — in works clearly intended as high art The case of Verdi is a different one: he took a popular genre — bourgeois melodrama set to music ( an accurate definition of nineteenth-century opera) and, without altering its fundamental nature, transmuted it into high art This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre.
    As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. Generally in the plots of these operas, a hero or heroine — usually portrayed only as an individual, unfettered by class — is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity or secret greed of the leaders of the proletariat Verdi transforms this naive and unlikely formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself.
    Or consider Verdi’s treatment of character. Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional states. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer’s vocal technique: when the cast changed, new arias were almost always substituted, generally adapted from other operas. Verdi’s characters, on the other hand, have genuine consistency and integrity. Even if, in many cases, the consistency is that of pasteboard melodrama, the integrity of the character is achieved through the music: once he had become established. Verdi did not rewrite his music for different singers or countenance alterations or substitutions of somebody else’s arias in one of his operas, as every eighteenth-century composer had done. When he revised an opera, it was only for dramatic economy and effectiveness.
It can inferred that the author views the independence from social class of the heroes and heroines of 19th century operas as______
选项 A、a plot refinement which could be the achievement only by Verdi.
B、an idealized but accurate portrayal of bourgeois lifestyles..
C、a plot convention with no real connection to political reality.
D、a symbolic representation of the social position of aristocrats..
答案C
解析 题干问：“从本文可以推论出作者认为19世纪歌剧中男女主人公不受社会阶级束缚的独立性’ 是……”。此题定位于第2自然段。归纳该段的第二、三句得出，19世纪歌剧中男女主人公不受社会阶级束缚的独立性是一种天真而未必可能的公式化的情节，即跟政治现实没有真实的联系。因此选项C“一种跟政治现实没有真实联系的惯常的情节”为正确选项。而选项A“一种只能由威尔迪实现的精妙的情节”，选项B“对资产阶级生活方式的一种理想化但精确的描述”和选项D“一种贵族社会地位的象征性的再现”都不能从文中推导出。
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