卫生类单选集填空考^试卷模拟考试题

1、姓名：_ 班级：_ 学号：_-密-封 -线- 标签:标题考试时间：120分钟 考试总分：100分题号一二三四五总分分数遵守考场纪律，维护知识尊严，杜绝违纪行为，确保考试结果公正。1、richard wagnerrichard wagner (1813 1883) is regarded by many 【51】 “the revolutionist of opera, “who demolished all old forms, and who reconstructed the music drama 【52】 principles entirely his own. in the stri

2、ctest 【53】 , this belief is not justified, for wagner simply returned to the oldest version of the music drama. he found that the ideal construction of the opera in florence had been to produce work in which the music, drama and interpretation should be 【54】 equal importance. wagner studied the chan

3、ges and abuses which gluck had 【55】 correct, and found that the opera 【56】 of the nineteenth century had 【57】 back into many of the old customs, with the result, that there was no longer a complete 【58】 of the three fundamentals of opera.wagner tells us in his autobiography that his early life was i

4、nfluenced by the dramas of shakespear, the symphonies of beethoven, and the operas of von weber. his first operas were constructed on the lines of the french grand opera. the first two were absolute failures, but with the 【59】 of “rienzi” in 1842, wagner was proclaimed the equal, if not the superior

5、, 【60】 bellini, donizetti and meyerbeer. in the writing of this work he had discovered the dramatic absurdities of the form, 【61】 in his next work, “the flying dutchman,” he attempted his first important use of the “leit motif,” or characteristic 【62】 , for his different personages , and also used t

6、hese themes, in anticipation of the advent of his characters, in a manner he later described as” making the audience a part of the being. 【63】 his way to dresden to conduct” rienzi,” wagner visited the wartburg castle, and there he became familiar 【64】 the legendary stories which he used in all his

7、later works. “tannhauser” gives an actual description of the minnesinger knights, who inspired wagner 【65】 teutonic versions of “the ring of the nibelungs”, “lohengrin” ,”tristan and isolde” and “parsifal”.（ ）a.likeb.ofc.asd.in2、richard wagnerrichard wagner (1813 1883) is regarded by many 【51】 “the

8、revolutionist of opera, “who demolished all old forms, and who reconstructed the music drama 【52】 principles entirely his own. in the strictest 【53】 , this belief is not justified, for wagner simply returned to the oldest version of the music drama. he found that the ideal construction of the opera

9、in florence had been to produce work in which the music, drama and interpretation should be 【54】 equal importance. wagner studied the changes and abuses which gluck had 【55】 correct, and found that the opera 【56】 of the nineteenth century had 【57】 back into many of the old customs, with the result,

10、that there was no longer a complete 【58】 of the three fundamentals of opera.wagner tells us in his autobiography that his early life was influenced by the dramas of shakespear, the symphonies of beethoven, and the operas of von weber. his first operas were constructed on the lines of the french gran

11、d opera. the first two were absolute failures, but with the 【59】 of “rienzi” in 1842, wagner was proclaimed the equal, if not the superior, 【60】 bellini, donizetti and meyerbeer. in the writing of this work he had discovered the dramatic absurdities of the form, 【61】 in his next work, “the flying du

12、tchman,” he attempted his first important use of the “leit motif,” or characteristic 【62】 , for his different personages , and also used these themes, in anticipation of the advent of his characters, in a manner he later described as” making the audience a part of the being. 【63】 his way to dresden

13、to conduct” rienzi,” wagner visited the wartburg castle, and there he became familiar 【64】 the legendary stories which he used in all his later works. “tannhauser” gives an actual description of the minnesinger knights, who inspired wagner 【65】 teutonic versions of “the ring of the nibelungs”, “lohe

14、ngrin” ,”tristan and isolde” and “parsifal”.（ ）a.inb.onc.ofd.at3、richard wagnerrichard wagner (1813 1883) is regarded by many 【51】 “the revolutionist of opera, “who demolished all old forms, and who reconstructed the music drama 【52】 principles entirely his own. in the strictest 【53】 , this belief i

15、s not justified, for wagner simply returned to the oldest version of the music drama. he found that the ideal construction of the opera in florence had been to produce work in which the music, drama and interpretation should be 【54】 equal importance. wagner studied the changes and abuses which gluck

16、 had 【55】 correct, and found that the opera 【56】 of the nineteenth century had 【57】 back into many of the old customs, with the result, that there was no longer a complete 【58】 of the three fundamentals of opera.wagner tells us in his autobiography that his early life was influenced by the dramas of

17、 shakespear, the symphonies of beethoven, and the operas of von weber. his first operas were constructed on the lines of the french grand opera. the first two were absolute failures, but with the 【59】 of “rienzi” in 1842, wagner was proclaimed the equal, if not the superior, 【60】 bellini, donizetti

18、and meyerbeer. in the writing of this work he had discovered the dramatic absurdities of the form, 【61】 in his next work, “the flying dutchman,” he attempted his first important use of the “leit motif,” or characteristic 【62】 , for his different personages , and also used these themes, in anticipati

19、on of the advent of his characters, in a manner he later described as” making the audience a part of the being. 【63】 his way to dresden to conduct” rienzi,” wagner visited the wartburg castle, and there he became familiar 【64】 the legendary stories which he used in all his later works. “tannhauser”

20、gives an actual description of the minnesinger knights, who inspired wagner 【65】 teutonic versions of “the ring of the nibelungs”, “lohengrin” ,”tristan and isolde” and “parsifal”.（ ）a.caseb.anglec.occasiond.sense4、richard wagnerrichard wagner (1813 1883) is regarded by many 【51】 “the revolutionist

21、of opera, “who demolished all old forms, and who reconstructed the music drama 【52】 principles entirely his own. in the strictest 【53】 , this belief is not justified, for wagner simply returned to the oldest version of the music drama. he found that the ideal construction of the opera in florence ha

22、d been to produce work in which the music, drama and interpretation should be 【54】 equal importance. wagner studied the changes and abuses which gluck had 【55】 correct, and found that the opera 【56】 of the nineteenth century had 【57】 back into many of the old customs, with the result, that there was

23、 no longer a complete 【58】 of the three fundamentals of opera.wagner tells us in his autobiography that his early life was influenced by the dramas of shakespear, the symphonies of beethoven, and the operas of von weber. his first operas were constructed on the lines of the french grand opera. the f

24、irst two were absolute failures, but with the 【59】 of “rienzi” in 1842, wagner was proclaimed the equal, if not the superior, 【60】 bellini, donizetti and meyerbeer. in the writing of this work he had discovered the dramatic absurdities of the form, 【61】 in his next work, “the flying dutchman,” he at

25、tempted his first important use of the “leit motif,” or characteristic 【62】 , for his different personages , and also used these themes, in anticipation of the advent of his characters, in a manner he later described as” making the audience a part of the being. 【63】 his way to dresden to conduct” ri

26、enzi,” wagner visited the wartburg castle, and there he became familiar 【64】 the legendary stories which he used in all his later works. “tannhauser” gives an actual description of the minnesinger knights, who inspired wagner 【65】 teutonic versions of “the ring of the nibelungs”, “lohengrin” ,”trist

27、an and isolde” and “parsifal”.（ ）a.ofb.inc.ond.from5、richard wagnerrichard wagner (1813 1883) is regarded by many 【51】 “the revolutionist of opera, “who demolished all old forms, and who reconstructed the music drama 【52】 principles entirely his own. in the strictest 【53】 , this belief is not justif

28、ied, for wagner simply returned to the oldest version of the music drama. he found that the ideal construction of the opera in florence had been to produce work in which the music, drama and interpretation should be 【54】 equal importance. wagner studied the changes and abuses which gluck had 【55】 co

29、rrect, and found that the opera 【56】 of the nineteenth century had 【57】 back into many of the old customs, with the result, that there was no longer a complete 【58】 of the three fundamentals of opera.wagner tells us in his autobiography that his early life was influenced by the dramas of shakespear,

30、 the symphonies of beethoven, and the operas of von weber. his first operas were constructed on the lines of the french grand opera. the first two were absolute failures, but with the 【59】 of “rienzi” in 1842, wagner was proclaimed the equal, if not the superior, 【60】 bellini, donizetti and meyerbee

31、r. in the writing of this work he had discovered the dramatic absurdities of the form, 【61】 in his next work, “the flying dutchman,” he attempted his first important use of the “leit motif,” or characteristic 【62】 , for his different personages , and also used these themes, in anticipation of the ad

32、vent of his characters, in a manner he later described as” making the audience a part of the being. 【63】 his way to dresden to conduct” rienzi,” wagner visited the wartburg castle, and there he became familiar 【64】 the legendary stories which he used in all his later works. “tannhauser” gives an act

33、ual description of the minnesinger knights, who inspired wagner 【65】 teutonic versions of “the ring of the nibelungs”, “lohengrin” ,”tristan and isolde” and “parsifal”.（ ）a.seeked tob.sought toc.intended tod.tended to6、richard wagnerrichard wagner (1813 1883) is regarded by many 【51】 “the revolution

34、ist of opera, “who demolished all old forms, and who reconstructed the music drama 【52】 principles entirely his own. in the strictest 【53】 , this belief is not justified, for wagner simply returned to the oldest version of the music drama. he found that the ideal construction of the opera in florenc

35、e had been to produce work in which the music, drama and interpretation should be 【54】 equal importance. wagner studied the changes and abuses which gluck had 【55】 correct, and found that the opera 【56】 of the nineteenth century had 【57】 back into many of the old customs, with the result, that there

36、 was no longer a complete 【58】 of the three fundamentals of opera.wagner tells us in his autobiography that his early life was influenced by the dramas of shakespear, the symphonies of beethoven, and the operas of von weber. his first operas were constructed on the lines of the french grand opera. t

37、he first two were absolute failures, but with the 【59】 of “rienzi” in 1842, wagner was proclaimed the equal, if not the superior, 【60】 bellini, donizetti and meyerbeer. in the writing of this work he had discovered the dramatic absurdities of the form, 【61】 in his next work, “the flying dutchman,” h

38、e attempted his first important use of the “leit motif,” or characteristic 【62】 , for his different personages , and also used these themes, in anticipation of the advent of his characters, in a manner he later described as” making the audience a part of the being. 【63】 his way to dresden to conduct

39、” rienzi,” wagner visited the wartburg castle, and there he became familiar 【64】 the legendary stories which he used in all his later works. “tannhauser” gives an actual description of the minnesinger knights, who inspired wagner 【65】 teutonic versions of “the ring of the nibelungs”, “lohengrin” ,”t

40、ristan and isolde” and “parsifal”.（ ）a.schoolb.classc.categoryd.flock7、richard wagnerrichard wagner (1813 1883) is regarded by many 【51】 “the revolutionist of opera, “who demolished all old forms, and who reconstructed the music drama 【52】 principles entirely his own. in the strictest 【53】 , this be

41、lief is not justified, for wagner simply returned to the oldest version of the music drama. he found that the ideal construction of the opera in florence had been to produce work in which the music, drama and interpretation should be 【54】 equal importance. wagner studied the changes and abuses which

42、 gluck had 【55】 correct, and found that the opera 【56】 of the nineteenth century had 【57】 back into many of the old customs, with the result, that there was no longer a complete 【58】 of the three fundamentals of opera.wagner tells us in his autobiography that his early life was influenced by the dra

43、mas of shakespear, the symphonies of beethoven, and the operas of von weber. his first operas were constructed on the lines of the french grand opera. the first two were absolute failures, but with the 【59】 of “rienzi” in 1842, wagner was proclaimed the equal, if not the superior, 【60】 bellini, doni

44、zetti and meyerbeer. in the writing of this work he had discovered the dramatic absurdities of the form, 【61】 in his next work, “the flying dutchman,” he attempted his first important use of the “leit motif,” or characteristic 【62】 , for his different personages , and also used these themes, in anti

45、cipation of the advent of his characters, in a manner he later described as” making the audience a part of the being. 【63】 his way to dresden to conduct” rienzi,” wagner visited the wartburg castle, and there he became familiar 【64】 the legendary stories which he used in all his later works. “tannha

46、user” gives an actual description of the minnesinger knights, who inspired wagner 【65】 teutonic versions of “the ring of the nibelungs”, “lohengrin” ,”tristan and isolde” and “parsifal”.（ ）a.drawnb.plungedc.fallend.dropped8、richard wagnerrichard wagner (1813 1883) is regarded by many 【51】 “the revol

47、utionist of opera, “who demolished all old forms, and who reconstructed the music drama 【52】 principles entirely his own. in the strictest 【53】 , this belief is not justified, for wagner simply returned to the oldest version of the music drama. he found that the ideal construction of the opera in fl

48、orence had been to produce work in which the music, drama and interpretation should be 【54】 equal importance. wagner studied the changes and abuses which gluck had 【55】 correct, and found that the opera 【56】 of the nineteenth century had 【57】 back into many of the old customs, with the result, that

49、there was no longer a complete 【58】 of the three fundamentals of opera.wagner tells us in his autobiography that his early life was influenced by the dramas of shakespear, the symphonies of beethoven, and the operas of von weber. his first operas were constructed on the lines of the french grand ope

50、ra. the first two were absolute failures, but with the 【59】 of “rienzi” in 1842, wagner was proclaimed the equal, if not the superior, 【60】 bellini, donizetti and meyerbeer. in the writing of this work he had discovered the dramatic absurdities of the form, 【61】 in his next work, “the flying dutchma

51、n,” he attempted his first important use of the “leit motif,” or characteristic 【62】 , for his different personages , and also used these themes, in anticipation of the advent of his characters, in a manner he later described as” making the audience a part of the being. 【63】 his way to dresden to co

52、nduct” rienzi,” wagner visited the wartburg castle, and there he became familiar 【64】 the legendary stories which he used in all his later works. “tannhauser” gives an actual description of the minnesinger knights, who inspired wagner 【65】 teutonic versions of “the ring of the nibelungs”, “lohengrin

53、” ,”tristan and isolde” and “parsifal”.（ ）a.unityb.integrityc.intensityd.union9、richard wagnerrichard wagner (1813 1883) is regarded by many 【51】 “the revolutionist of opera, “who demolished all old forms, and who reconstructed the music drama 【52】 principles entirely his own. in the strictest 【53】

54、, this belief is not justified, for wagner simply returned to the oldest version of the music drama. he found that the ideal construction of the opera in florence had been to produce work in which the music, drama and interpretation should be 【54】 equal importance. wagner studied the changes and abu

55、ses which gluck had 【55】 correct, and found that the opera 【56】 of the nineteenth century had 【57】 back into many of the old customs, with the result, that there was no longer a complete 【58】 of the three fundamentals of opera.wagner tells us in his autobiography that his early life was influenced b

56、y the dramas of shakespear, the symphonies of beethoven, and the operas of von weber. his first operas were constructed on the lines of the french grand opera. the first two were absolute failures, but with the 【59】 of “rienzi” in 1842, wagner was proclaimed the equal, if not the superior, 【60】 bell

57、ini, donizetti and meyerbeer. in the writing of this work he had discovered the dramatic absurdities of the form, 【61】 in his next work, “the flying dutchman,” he attempted his first important use of the “leit motif,” or characteristic 【62】 , for his different personages , and also used these themes

58、, in anticipation of the advent of his characters, in a manner he later described as” making the audience a part of the being. 【63】 his way to dresden to conduct” rienzi,” wagner visited the wartburg castle, and there he became familiar 【64】 the legendary stories which he used in all his later works. “tannhauser” gives an actual description of the minnesinger knights, who inspired wagner 【65】 teutonic versions of