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.
By referring to Schubert and Brahms, the author suggests that______
选项 A、the works produced in the 18 th century can be all considered as trash.
B、the achievements of the two artists overshadow that of Verdi.
C、popular music could be applied to compositions intended as high art
D、the term of popular music is susceptible to many definitions.
答案C
解析 题干问：“作者提到舒伯特和布拉姆斯是为了表明……”。正确选项为C“在要使之成为高雅艺术的乐曲中可以利用通俗音乐的乐曲”。此题可定位于第1自然段。而选项A“18世纪创作的作品都被视为废料艺术”和原文的意思不符合，选项B“这两位艺术家的成就使威尔迪的成就变得黯然失色”在原文没有提及。选项D“通俗艺术这个术语可能有多种定义”不是作者提到舒伯特和布拉姆斯的目的。
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