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单选题"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 casals, 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 differenf 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.

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单选题血清和血浆的主要不同点是前者不含有

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单选题液化性坏死常见于( )(1995年)

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单选题阴茎基底样癌的主要表现为：（） A、向外生长呈灰白色包块 B、菜花样，向外生长 C、向内生长的包块 D、扁平，有溃疡的肿块 E、以上都不是

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单选题能使胃蛋白酶原转变为胃蛋白酶的是

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单选题肾素的合成和分泌部位是 A．肾系膜细胞 B．致密斑细胞 C．肾近球细胞 D．肝脏

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