2025年大學《阿爾巴尼亞語》專業(yè)題庫——阿爾巴尼亞語音樂史回顧考試時間：______分鐘總分：______分姓名：______一、選擇題（每題2分，共20分）1.下列哪位人物通常被認為是阿爾巴尼亞Gheg地區(qū)傳統(tǒng)音樂的代表人物？A.MihalHariziB.BedriSpahiuC.PandeliCaleD.ToninHarapi2.奧斯曼帝國時期對阿爾巴尼亞音樂產(chǎn)生顯著影響的音樂形式主要是？A.阿爾巴尼亞民間歌謠B.希臘東正教圣歌C.土耳其傳統(tǒng)音樂（Mehter）和烏菲（Oda）音樂D.意大利歌劇3.19世紀末，試圖將西方音樂理論引入阿爾巴尼亞并創(chuàng)作第一部阿爾巴尼亞歌劇的作曲家是？A.LuigjPashkoB.NdreMjedaC.QemalStafaD.SulejmanMaleshi4.在20世紀初的阿爾巴尼亞，哪個地區(qū)（或民族群體）的音樂被認為更傾向于使用五聲音階和單聲部或支聲復(fù)調(diào)形式？A.地中海沿岸地區(qū)（Tosk）B.北部山區(qū)（Gheg）C.阿爾巴尼亞diaspora地區(qū)D.首都地拉那周邊5.社會主義時期阿爾巴尼亞音樂創(chuàng)作的主要特征之一是？A.強調(diào)個人主義和實驗性B.大量吸收西方現(xiàn)代主義音樂流派C.積極融入民間音樂元素，服務(wù)于革命和集體主義精神D.基本上中斷了與奧斯曼時期音樂的聯(lián)系6.被譽為“阿爾巴尼亞現(xiàn)代音樂之父”的人物是？A.KristaqDoraB.PandeliCaleC.MaksimCikoD.FadilNushi7.阿爾巴尼亞電影音樂的發(fā)展主要在哪個世紀后期開始興盛？A.19世紀B.20世紀上半葉C.20世紀下半葉D.21世紀8.下列哪種樂器不屬于傳統(tǒng)阿爾巴尼亞Gheg音樂中常見的伴奏樂器？A.Qerban?i(klarinet)B.Lagjimi(fiddle)C.Nal(flute)D.Duhuri(bagpipes)9.“TiranaSchool”在阿爾巴尼亞音樂史中通常指代？A.20世紀60年代在首都地拉那形成的一批重要作曲家群體B.奧斯曼時期地拉那的音樂中心C.民主革命前秘密傳唱的革命歌曲集D.民間音樂學家研究傳統(tǒng)音樂的機構(gòu)10.當代阿爾巴尼亞流行音樂中，哪位歌手因其融合了傳統(tǒng)阿爾巴尼亞音樂元素和現(xiàn)代流行風格而廣受歡迎？A.ElonaRamaB.LedriVokaC.ErmonelaJahoD.BledarSejko二、填空題（每空1分，共10分）1.阿爾巴尼亞音樂史通常將_________和_________視為兩個主要的音樂文化區(qū)域。2.作曲家_________創(chuàng)作了阿爾巴尼亞第一部歌劇_________。3.土耳其音樂對阿爾巴尼亞音樂的影響主要體現(xiàn)在_________、_________和某些樂器上。4.20世紀50年代至70年代，阿爾巴尼亞音樂創(chuàng)作普遍強調(diào)_________和_________原則。5.阿爾巴尼亞民間音樂中，_________是一種常見的表現(xiàn)悲傷或哀悼情緒的調(diào)式。三、名詞解釋（每題5分，共20分）1.Lagjimi2.Mehter3.QemalStafa4.F?mij?teLuft?s四、簡答題（每題8分，共16分）1.簡述阿爾巴尼亞Gheg音樂和Tosk音樂在旋律、節(jié)奏和樂器使用上的主要區(qū)別。2.簡要介紹阿爾巴尼亞社會主義時期音樂創(chuàng)作的特點及其社會背景。五、論述題（12分）結(jié)合具體作曲家或作品為例，論述阿爾巴尼亞音樂在20世紀經(jīng)歷了哪些重要的演變和發(fā)展。試卷答案一、選擇題1.C2.C3.A4.B5.C6.D7.C8.D9.A10.A二、填空題1.Gheg;Tosk2.MihalHarizi;M?suesjaemir?(TheGoodTeacher)3.scales;rhythms;instruments4.socialistrealism;nationalthemes5.emal?sore三、名詞解釋1.Lagjimi:AtraditionalAlbanianfiddle(violin),centraltoGhegfolkmusic,oftenplayedsoloorinpairs,knownforitsnasal,expressivesound.Ittypicallyhasfourstringsandisplayedwithabow.Itsmusicischaracterizedbycharacteristicrhythmsandmodes,oftenreflectingthepastorallifeandGhegculturalidentity.2.Mehter:ThetraditionalAlbanianmilitaryband,primarilyassociatedwiththeperiodoftheOttomanEmpire.ThemusicoftheMehterbandischaracterizedbyitsslow,solemntempo,complexrhythmicpatterns(oftenbasedon9/8time),andtheuseofspecificinstrumentsliketheclarinet(qerban?i),bagpipes(duhuri),andlargedrums(def).Itwasusedformilitaryandceremonialpurposesandcarriedsignificantculturalandhistoricalweight.3.QemalStafa:Apivotalfigurein20th-centuryAlbanianculture,Stafawasnotprimarilyacomposerbutapoet,writer,andpolitician.However,hewasdeeplyinvolvedintheculturallifeofAlbaniaandplayedacrucialroleinpromotingnationalidentity.Hewasaleadingmemberofthe"TiranaSchool"intellectualmovement,whichhadasignificantinfluenceonAlbanianarts,includingmusic.Hiswritingsoftenreflectedthemesofnationalstruggle,love,andsocialjustice,resonatingwiththemusicalaestheticsoftheera.4.F?mij?teLuft?s:Literally"ChildrenoftheWar,"thisisagenreofsongspopularinAlbania,particularlyduringandaftertheAlbanianWarofIndependenceintheearly20thcenturyandWorldWarII.Thesesongswereoftenfolk-inspired,expressingthemesofpatriotism,resistance,loss,andtheexperiencesofsoldiersandciviliansduringwartime.TheybecameanimportantpartofAlbaniannationalmemoryandmusicalheritage.四、簡答題1.Ghegvs.ToskMusicDifferences:*Melody:GhegmelodiesareoftencharacterizedbytheiruseoftheDorianmode,beingmorechromaticandfeaturingwiderintervals,sometimesdissonant,conveyingasenseofruggednessandindividualism.Toskmelodies,conversely,tendtobemorediatonic,employtheMixolydianmodemorefrequently,andaregenerallysmootherandmoremelodic,reflectingamoresettledlifestyle.*Rhythm:Ghegmusicfrequentlyusescomplexrhythms,including9/8time(acharacteristic"Ghegrhythm"),whileToskmusictendstofavorsimpler,dupleortriplemeterpatternslike4/4or6/8,although9/8timeisalsofoundinsomeToskregions.*Instrumentation:Ghegmusicprominentlyfeaturesinstrumentslikethelagjimi(fiddle),?ifteli(two-stringedviolin),andduhuri(bagpipes).Stringinstrumentsaredominant.Toskmusicoftenincorporatesthe?ifteli,theqerban?i(clarinet),thenali(flute),andthe?embeli(zither),showcasingagreatervarietyandsometimesamorerefinedsound.2.SocialistPeriodMusicCharacteristicsandContext:*Characteristics:Musicofthisera(roughly1944-1990)washeavilyinfluencedbysocialistrealism,adoctrineemphasizingpositive,realisticportrayalsalignedwithsocialistideals.Themescommonlyrevolvedaroundrevolution,workers'struggles,collectivefarming,heroism,nationalunity,andtheconstructionofanewsociety.Therewasastrongemphasisonfolkelements,whichwereoftenadaptedtofitthesocialistnarrative.Composersaimedtocreatemusicthatwasaccessibletothemassesandservedtoeducateandinspirethepopulationinsupportofthestateideology.Formalistoravant-gardeWesternstylesweregenerallydiscouraged.*Context:ThismusicallandscapeemergedintheaftermathofWorldWarIIandthecommunisttakeoverofAlbania.TheregimesoughttoforgeastrongnationalidentitybasedonsocialistprinciplesanddistanceitselffrombothcapitalistWesterninfluencesandtheOttomanpast.Musicbecameakeytoolforpropagandaandideologicalindoctrination.Thestatecontrolledthearts,establishingofficialorganizationsliketheUnionofComposersandMusicologists.Whilesometalentedmusiciansandcomposersemergedduringthisperiod,theirworkwasconstrainedbytheprevailingpoliticalclimateandaestheticguidelines.五、論述題AlbanianMusicEvolutioninthe20thCentury:The20thcenturywasaperiodofprofoundtransformationinAlbanianmusic,markedbyeffortstomodernize,nationalize,andalignwithbothWesterndevelopmentsandsocialistideologies,whilesimultaneouslystrivingtopreservetraditionalelements.1.Early20thCentury:NationalAwakeningandIntroductionofWesternMusic:Thisperiodsawthebeginningofaconsciousefforttodevelopanationalmusicalidentity,distinctfromOttomaninfluence.MihalHarizistandsoutasakeyfigure,composingthefirstAlbanianopera,"M?suesjaemir?"(TheGoodTeacher),in1902,whichincorporatedWesternoperaticforms.ThiseraalsowitnessedtheintroductionofWesternmusicalinstrumentsliketheviolin(lagjimi)andclarinet(qerban?i)intofolktraditions,alongsidethecontinuedimportanceoftraditionalinstrumentslikethedushuriandnali.ComposerslikeLuigjPashkoandNdreMjedabeganexploringWesterntheoryandcompositiontechniques,layingthegroundworkforfuturedevelopments.2.InterwarandEarlyCommunistPeriod:ConsolidationandInitialStateInfluence:BetweenthetwoWorldWars,andparticularlyafterthecommunistregimetookpowerin1944,musicbegantoreflectthenewpoliticallandscape.Whiletraditionalmusiccontinuedtobeperformedanddocumented,thestatestartedtoexertcontroloverthearts.Thefocusshiftedtowardspromotingmusicthatalignedwithsocialistideals.The"TiranaSchool"emergedinthe1960s,agroupofintellectualsandartists(includingcomposerslikeKristaqDoraandPandeliCale,andwriterslikeQemalStafa)whosoughttoforgeadistinctAlbanianculture,oftenblendingsocialistrealismwithfolkelements.Thisperiodsawtheestablishmentofstate-sponsoredmusicconservatoriesandensembles.3.SocialistPeriod(Mid-20thCentury):StateControlandSocialistRealism:Asoutlinedinthepreviousquestion,thiserawascharacterizedbythedominanceofsocialistrealisminmusic.Composerswereencouragedtowriteworksthatcelebratedtherevolution,labor,andtheachievementsofthesocialiststate.Folkmusicwasheavilyutilized,oftenadaptedtofittheheroicandcollectivethemesfavoredbytheregime.Westernclassicalandpopularmusicwerelargelymarginalized.Despitetheconstraints,somesignificantcomposersproducedenduringworksduringthistime,oftenincorporatingfolkinfluenceswithinthemandatedaestheticframework.4.Post-CommunistEra(Late20thCentury-Present):ReopeningtotheWestandDiversification:Thefallofcommunismin1990ledtoasignificantshift.AlbaniareopenedtoWesternculturalinfluences,inclu