تدريب Shadowing: British Council - IELTS Listening Practice Test - تعلم التحدث بالإنجليزية عبر الفيديو

Part 1 You will hear a student discussing her research project and final thesis submission with her tutor.

First, you have some time to look at questions 1 to 7.

Now listen and answer questions 1 to 7.

Good afternoon, Emily.

Uh, yes, I see you completed your presentation on Project 4829.

Good afternoon, Professor.

Yes, that's right.

I hope you're pleased with the outcome.

If I may say so, I think you did exceptionally well.

The feedback from the panel shows you scored just above the base mark of 65.

Honestly, I'm relieved.

I admire Dr. Jonathan Keats' research, and I was determined to analyze his theories properly.

I had set myself a target of 80, but managing 75 felt like a wonderful achievement.

I have to admit, case studies on 19th century rural economics, like the one you explored, are often underestimated.

Most research departments prefer more modern statistical approaches.

Machine learning models and predictive software are the trend these days.

That's not really my interest.

My taste leans toward historical methods.

They connect better with the kind of archival work I enjoy.

Well, I hope you have space for all those resources you've been collecting.

Fortunately, I live near the Central University Library.

What are the exact requirements for storing the datasets, by the way?

The primary file size is 2.3 gigabytes, and the secondary archive is 1.2 gigabytes, without the additional visuals, that is.

If you include the scanned maps, which are fairly large to balance the written records, you'll need to add another 0.7 gigabytes for each data set.

That won't be a problem.

I'm just glad I managed to complete this challenging project.

Excellent.

Before you hear the rest of the conversation, you have some time to look at questions 7 to 10.

Now listen and answer questions 7 to 10.

Now, before we finish, I need to confirm a few details for the department's records. Of course.

Go ahead.

I recognized your face since you've attended my seminars before, but could you remind me of your full name?

Oh, yes.

It's Emily Carter Williams.

It's a hyphenated surname, so it's a make sure you add the dash in between the two names.

So that's C-A-R-T-E-R followed by a hyphen then W-I-L-L-I-A-M-S?

Correct.

And your contact address please.

It's Riverside Hall.

That's R-I-V-E-R-S-I-D-E.

and I live in Brookfield Town, the postcode you'll need is BL497QP.

Sorry, was that BN497QP?

No, it's BL, not an N, then 497QP.

Perfect.

I think that's everything.

Oh, and when would you like to submit the final hard copy of your thesis?

The office accepts submissions on Mondays and Thursdays, the week after assessments.

Well, I'm going away on a short trip to Cornwall this Thursday, so that won't work.

How about next Monday?

No problem at all.

So that will be the 14th of June.

Perfect.

Thank you, Professor.

Not at all, Emily.

It's been a pleasure supervising your work.

That is the end of part one.

You now have half a minute to check your answers to part one.

Part 2 You will hear a guide explaining galleries, facilities, and events at an art museum.

First, you have some time to look at questions 11 to 15.

Thank you.

A very good afternoon to you all, ladies and gentlemen.

I'm glad you've chosen to visit the prestigious Lisbon Museum of Art today, and I'll look forward to showing you around.

But first, I would just like you to refer to the maps of the museum

that you picked up on your way in.

Now, where you picked up your maps is just to the left as you enter the building, outside the museum store.

By the way, the store is a great place to pick up some souvenirs before you leave.

Oh, and if anyone wants to leave a coat in the cloakroom, then please feel free to do so at no extra charge.

It's just over there on the other side of the entrance to the museum store.

Okay, so this nice spacious area we're now standing in is the main hall.

It contains some of the museum's most striking sculptures.

From here you gain access to all the museum.

Leading off from the main hall are the Ufazi Gallery and our other large gallery that houses a permanent art collection.

We'll be starting our tour actually in the permanent collection gallery as it's the nearest of the two galleries to the entrance.

We'll make our way afterwards to the other gallery I mentioned as it's right next door.

Oh, the smaller room behind the Ufazi Gallery

that you see on your maps is just a storage space for the museum

and access is blocked off to the public by a railing across the entrance to that area.

So now where were we?

Ah, yes.

After we visited those galleries, which will take us a good hour as there are so many interesting exhibits to see,

we'll make our way back across the main hall and visit the Cowell Room.

It's right at the far end of the museum, on the opposite side of the main hall, to the Ufazi and Permanent Collection Galleries.

It's one of the museum highlights and contains some high-quality contemporary art exhibits.

Oh, I'm so sorry, I forgot to point out the ladies and gents' toilets earlier.

They're just before you get to the cowl room and are adjacent to the museum store.

Don't go into the room opposite the toilets, that's our staff room area and kitchen.

Right, so that's all you need to know for the moment.

Let's begin the tour.

Before you hear the rest of the conversation, you have some time to look at questions 16 to 20.

Now listen and answer questions 16 to 20.

Well, I hope you all found the tour interesting.

If any of you would like to become a patron of the museum, you can request information from the museum store.

Being a patron entitles you to special discounts on visiting exhibitions and first refusal on tickets to special events.

You will also be the first to know about our museum events as you are automatically placed on the museum's mailing list.

You can choose to become a gold, silver, or bronze patron of the museum.

patrons are also permitted free entry for one accompanying guest.

However, all patrons can receive year-round benefits that are not enjoyed by non-patrons.

Having said all that, I would now like to announce some very special news.

Next year will be our centenary celebrations.

100

It's hard to believe it, but the museum was founded over 100 years ago.

101

Accordingly, we will be seeing in the new year in style with a special Masked Ball.

102

This has been organized in response to a special request from some of our patrons.

103

Plans have yet to be finalized for this one-off event, but a themed Masked Ball has been suggested,

104

the idea being that guests come in the guise of famous artists, past or present.

105

One exciting event that has been confirmed is the Summer Garden Party.

106

We are anticipating a lot of interest for this one, so it's best to book well in advance.

107

Whilst the tickets are by no means cheap, we like to think that the price reflects the quality of the event.

108

Amongst the many treats we have in store for you is a live orchestra playing in the museum's gardens, which are to the back of the main building.

109

It is weather permitting, of course.

110

Again, we are dependent on good weather in order for the barbecue to take place.

111

Alternatively, a sit-down meal will be provided in the cowl room.

112

Everything from the entertainment to the food is included in the ticket price, so there are no hidden extras.

113

Now, having given you a roundup of the highlights of next year's social events, let's go on to the artistic highlights of next month.

114

Coming up shortly is Ewan Bailey's newest installation, Light and Sound Waves.

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Always thought-provoking, his previous installations have been very well received.

116

We will also have Hamish Barnes here for the first time as artist-in-residence.

117

He will be encouraging visitors to adopt a more hands-on approach to art.

118

Finally, last but not least, we will be exhibiting the work of Cien Long, who will be making his artistic debut.

119

His work will be on show in the Ufazi Gallery over the summer period.

120

We are anticipating a large attendance at his exhibition.

121

Well, that's all from me.

122

I look forward to seeing you at one or maybe all of our events.

123

It's certainly going to be an action-packed year for the museum, both culturally and socially.

124

That is the end of part two.

125

You now have half a minute to check your answers to part 2.

126

Part 3 You will hear an art reviewer answering questions from several audience members.

127

First, you have some time to look at questions 21 to 25.

128

Thank you.

129

Now listen and answer questions 21 to 25.

130

I think I've spoken enough for now, so it's time to hear from the audience.

131

Would anyone like to begin and share a thought about what I said earlier?

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Ah, yes, the young man over there.

133

Hello, my name's Ryan, and I've got a question.

134

You described folk art as being the work of people who haven't had formal training at art schools.

135

Does that mean that literally anyone could create art?

136

Well, what counts as art is always going to be subjective.

137

But if we accept some general agreement on what can reasonably be called art, then yes, in principle, anyone could create it.

138

The real challenge is whether they can produce remarkable art.

139

Excuse me, may I ask a question as well?

140

Yes, of course.

141

Would you like to introduce yourself to everyone first?

142

Sure.

143

My name is Sophia.

144

All right, Sophia.

145

What would you like to ask?

146

Don't you think that self-taught artists lack the proper technique to make truly great work?

147

Honestly, I thought some of the drawings by those so-called folk artists you showed us looked quite rough.

148

I believe you're mixing up the idea of technique with the idea of art itself.

149

Strong technical ability doesn't necessarily equal strong art.

150

Sometimes remarkable pieces come from talented people who don't possess what we would normally think of as professional skills.

151

Okay, who's next with the question?

152

Hello, I've got one.

153

Oh, my name's Daniel, by the way.

154

I just wanted to ask how many folk artists were actually recognized during their lifetimes?

155

Only a small number.

156

The exceptions are the ones who created truly extraordinary pieces, such as Simon Rodia's Towers in California, or Antonio Gaudí's famous structure,

157

the Sagrada Familia in Spain.

158

Both were built using unconventional methods and recycled objects.

159

Yeah, they were incredible.

160

I remember those from the pictures you showed earlier.

161

But what fascinates people most isn't just the size of these works, but the devotion behind them.

162

Both were built almost entirely by one person over decades, often without official approval or permits.

163

That secrecy adds to the mystery and romance of the whole story, don't you agree?

164

Well, their dedication definitely impressed me.

165

Yes.

166

Folk art often results in creations that are completely unique.

167

Before you hear the rest of the conversation, you have some time to look at questions 26 to 30.

168

Now listen and answer questions 26 to 30.

169

So, now I'd like to ask you some questions.

170

Out of all the folk artworks I showed earlier, which one did you find the most striking and why?

171

May I answer that?

172

Yes.

173

Hello again, Ryan.

174

Which piece was your favorite?

175

Oddly enough, the illustrations by Henry Darger, the perspective is strange and inconsistent, but the detail is astonishing.

176

Well, if you look at celebrated artists like Van Gogh and Cezanne, perspective wasn't their main concern either.

177

Strangely, I can appreciate that style when it comes to folk art, but I don't feel the same about contemporary art.

178

Maybe it's because I don't view the two styles with the same expectations.

179

Interesting.

180

You mean you expect more from trained professional artists like Van Gogh or Cezanne?

181

Yes, exactly.

182

I expect contemporary artists to at least use conventional tools like perspective,

183

while folk artists are widely honored.

184

I see your point.

185

Apart from folk art, I suppose you prefer more traditional painters?

186

I think so.

187

Like most people, I can appreciate the works of the Renaissance masters like Raphael and Botticelli.

188

Their techniques were brilliant.

189

And, of course, I can also understand the continuing popularity of the Impressionists.

190

One last question.

191

What about modern sculpture?

192

Do you view modern sculpture the same way you view modern painting?

193

I think sculpture requires skill no matter what.

194

Handling wood, metal, or stone is never easy.

195

But to be honest, I find that many modern sculptures in public spaces get more admiration than they really deserve.

196

Hmm.

197

You certainly have clear opinions about art.

198

Well, it was most interesting hearing your perspective.

199

That is the end of part three.

200

You now have half a minute to check your answers to part three.

201

Part 4.

202

You will hear a lecture exploring how animals produce paintings and sculptures.

203

First, you have some time to look at questions 31 to 40.

204

Now listen and answer questions 31 to 40.

205

I've just shown you a series of slides featuring a surprisingly wide variety of paintings.

206

As I was presenting them, I noticed a few chuckles among you, and even some puzzled looks.

207

Perhaps calling today's lecture Unexpected Masters of Creativity was a little misleading.

208

Although the brushwork seemed clumsy-looking, the artworks are still impressive considering who created them.

209

Well, let me surprise you further.

210

What I'm about to reveal should make the title much clearer.

211

All those artworks you just saw were created by, wait for it, animals.

212

Yes, I can hear a few murmurs of disbelief now.

213

Of course, when compared to human standards, these paintings appear basic.

214

But when you remember that they were made by animals, the results are nothing short of extraordinary.

215

And it wasn't only our closest relatives like monkeys who produced them.

216

The artworks came from an astonishing range of creatures like dolphins, parrots, and even anteaters.

217

In fact, not long ago,

218

the Manchester Natural History Gallery held what was thought to be the very first exhibition of paintings created by different species.

219

This event included contributions from a chimpanzee, an orangutan, and a dolphin.

220

While the ape paintings resembled the energetic style of abstract artists such as Paula Ginrothko,

221

the Dolphins piece showed a more representational form depicting a fishbowl.

222

Now, before anyone here assumes this is some groundbreaking discovery, I want to clarify a few things.

223

The idea that animals can contribute to the artistic world was already being explored as early as the 1960s.

224

During that period, a renowned anthropologist named Margaret Linton,

225

who also wrote bestsellers like Mind Watching and The Human Animal,

226

introduced the British public to Sally and painting Orangutan in a popular television program.

227

At that time, these animal creations were dismissed as amusing oddities.

228

Today, though, animal-made artworks are regarded far more seriously,

229

as many of these creatures display a natural talent and employ their senses in ways quite different from human artists.

230

Because of this recognition, it is now fairly standard for wildlife parks and aquariums to provide artistic outlets for their residents.

231

The goal is not only to enrich the lives of the animals, but also to stimulate them physically and mentally.

232

Clearly, you cannot simply hand a snake a paintbrush and expect it to produce a masterpiece.

233

Instead, caretakers supply materials appropriate to each species.

234

For instance, anteaters, which naturally feed by using their long tongues to search through soil for ants,

235

have been given narrow tubes to blow paint across canvases, mimicking their feeding behavior.

236

One of the most intriguing outcomes of this practice is the discovery that many animals willingly and spontaneously engage in making art.

237

It appears they experience enjoyment, much like humans do, when applying colors to paper or shaping clay.

238

This suggests there are far more commonalities between people and other animals than some critics might prefer to acknowledge.

239

Yet, for those of you who remain doubtful, let me add a word of caution.

240

Some Some examples of elephant and ape paintings have shown striking similarities to contemporary Western art.

241

In fact, the stylistic elements suggest there might have been a degree of human influence.

242

A famous case involved an elephant called Dara, whose keeper actually guided her trunk as she made brushstrokes on a canvas.

243

However, when examining animal art, skeptics should have a fair perspective.

244

That is the end of part 4.

245

Thank you.

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ما هي تقنية التظليل الصوتي؟

التظليل الصوتي (Shadowing) تقنية تعلم لغة مدعومة علمياً، طُورت أصلاً لتدريب المترجمين الفوريين المحترفين. الطريقة بسيطة لكنها قوية: تستمع لصوت إنجليزي أصلي وتكرره فوراً بصوت عالٍ — كظل يتبع المتحدث بتأخير 1-2 ثانية. تُظهر الأبحاث تحسناً كبيراً في دقة النطق والتنغيم والإيقاع وربط الأصوات والاستماع والطلاقة.

تقنية الشادوينغ: اقرأ الدليل الكامل خطوة بخطوة →

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لمن هذا الفيديو؟

كلمات وعبارات تستحق الاقتباس

كيفية الحصول على النطق الصحيح

ما هي تقنية التظليل الصوتي؟