Shadowing Practice: Which TWO points did students most frequently make about their musical background before PART 3 - Learn English Speaking with Video
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Part 3.
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You will hear two music students discussing the results of a survey they have done.
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First, you have some time to look at questions 21 to 26.
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Now listen carefully and answer questions 21 to 26.
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So, Gareth, we need to organise the findings from our survey or music students for the final presentation.
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Yes, Lorna.
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I think we've got some very interesting results.
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Obviously, we need to start by saying
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that we interviewed all the third-year students doing a music degree and state the objective of our research project, that is, to find out about their attitudes to performing.
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And then we should talk about the students' musical backgrounds before coming to university.
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The most important points to make are
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that although most people have actually composed music during the course
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that wasn't the case when they arrived
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and the other thing they had in common was the piano
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well they'd had access to a piano at some point
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but not all had studied it formally i thought the most interesting finding was
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that before coming here almost everyone was involved in a chamber orchestra
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or band or singing in a choir and playing in front of live audiences but varying enormously in size.
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Some had only played in tiny venues.
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I think it's worth saying that.
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OK.
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And as you might expect from people wanting to study music, they all had a degree of proficiency in at least two instruments.
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But in most cases, one of the instruments was dominant.
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Right.
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We need to talk about attitudes to music practice.
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The most striking thing here is
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that even students who you'd expect to practice for hours every
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day until they get it perfect say it's being terrified of failing that really makes them practice.
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I know I'm the same.
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Me too.
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It's interesting what was said about practicing alone.
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Some people preferred that because they could focus more on their weak points.
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But that wasn't a majority view.
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What most of them agree on is that there's nothing more rewarding than mastering something that's really hard to learn.
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That's right.
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OK, after that we should talk a bit about the pieces that students select for assessed performances.
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There wasn't quite so much consensus on this, was there?
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A few people prefer to do pieces which are relatively unknown, while others choose the ones they think will show off their technical ability.
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But they were in the minority.
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I think the first thing to say is
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that a high percentage said they would always try to learn their pieces by heart, because it's too easy to get lost if you're trying to read and play when you're nervous.
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OK.
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And quite a lot of them said it helps to listen to other people playing your chosen piece, preferably recordings but even just other students
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before you hear the rest of the discussion you have some time to look at questions 27 to 30
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Now listen and answer questions 27 to 30.
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So finally, we need to look at the findings for students' attitudes to performing.
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We should point out that this includes informal and formal public performances, as well as assessed ones.
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Yes, that's important.
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I expected to find that performing solo would make students very nervous, but in fact that isn't the case.
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They do find it hugely challenging to start with, but they appreciate the challenge and find it stimulating.
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Right.
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I was surprised by what students said about deciding which pieces to perform.
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I thought they'd all say this was easy.
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For me, it's always been quite straightforward.
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Which pieces do I like best?
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And which pieces can I play well?
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And my repertoire is quite limited anyway.
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But the most commonly cited answer was that it took them ages to make their minds up.
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I suppose it's because there are so many factors involved.
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You need to consider your audience, the venue, the time available to learn the piece, especially if it's complicated.
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You need to think about all these things, and you can't do that in a hurry.
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That's true.
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Then there's performing with musicians from a different genre, like a classical musician playing with a jazz group.
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That can really be fun.
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But most of the music students had never even considered it.
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Right.
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For performing with musicians who play the same instrument, almost everyone put the same thing.
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Yes, they all said it was incredibly helpful, and not at all intimidating, which says a lot for the department's ethos.
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Yes, that's a good point.
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Okay, what I think we should sort out now...
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Thank you.
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Thank you.
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Thank you.
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Thank you.
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Thank you.
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Vocabulario y notas de pronunciación para esta lección
Esta lección de conversación de nivel B2 se basa en el vídeo “Which TWO points did students most frequently make about their musical background before PART 3”. Las palabras que más se repiten: students, piece, performing, questions, musician. Este vídeo tiene 75 frases y 775 palabras para practicar shadowing. La parte hablada dura 8:18. El hablante habla despacio, unas 93 palabras por minuto, así que hay tiempo para imitar cada sonido. El 86 % de las palabras está entre las 3.000 más comunes del inglés; conviene repasar el resto antes de empezar.
Vocabulario clave de este vídeo
Las 15 palabras más avanzadas del vídeo, con su pronunciación y significado:
| Palabra | Pronunciación | Significado |
|---|---|---|
| musician sustantivo | /mjuˈzɪʃən/ | músico, música |
| assess verbo | /əˈsɛs/ | evaluar, estimar |
| compose verbo | /kəmˈpəʊz/ | componer |
| enormously adverbio | enormemente | |
| intimidate verbo | /ɪnˈtɪmɪdeɪt/ | intimidar, amedrentar |
| proficiency sustantivo | /pɹəˈfɪʃənsi/ | suficiencia, pericia |
| repertoire sustantivo | /ˈɹɛp.əɹ.twɑɹ/ | repertorio |
| terrify verbo | /ˈtɛɹɪfaɪ/ | aterrar |
| stimulate verbo | /ˈstɪm.jəˌleɪt/ | estimular |
| cite verbo | /saɪt/ | citar |
| preferably adverbio | /ˈpɹɛf.ɹəˌbli/ | preferiblemente |
| straightforward adjetivo | /ˌstɹeɪtˈfɔː(ɹ)wə(ɹ)d/ | sencillo, llano |
| informal adjetivo | /ɪnˈfɔɹ.m(ə)l/ | informal, aformal |
| choir sustantivo | /kwaɪɚ/ | coro, orfeón |
| orchestra sustantivo | /ˈɔː.kɪs.tɹə/ | orquesta, orquestra (disused) |
Phrasal verbs que vas a escuchar
| Palabra | Significado |
|---|---|
| point out verbo | señalar, apuntar |
| show off verbo | chulear, lucir |
| sort out verbo | discernir |
Frases que vale la pena repetir
Frases cortas y completas del vídeo que puedes reutilizar en la conversación diaria:
- I think we've got some very interesting results.
- I think it's worth saying that.
- I know I'm the same.
- I thought they'd all say this was easy.
- Which pieces do I like best?
Gramática en este vídeo
Las estructuras que más usa el hablante, con las palabras exactas del vídeo:
| Estructura | En el vídeo |
|---|---|
| Present perfect have/has + participio pasado — una acción pasada que sigue importando ahora | have done · have actually composed · it's always been |
| Voz pasiva be + participio pasado — importa lo que ocurre, no quién lo hace | was involved · was said |
| Oraciones de relativo who / which + oración — información extra sobre una persona o cosa | students who you · pieces which are |
Pronunciación a tener en cuenta
El hablante usa 12 contracciones y formas reducidas, como wasn't, they'd, you're. Dilas en su forma corta, tal como las oyes.
- Los sonidos de “sh” y “zh”: musician /mjuˈzɪʃən/, proficiency /pɹəˈfɪʃənsi/, genre /ˈ(d)ʒɑnɹə/
- Palabras largas — cuida el acento: intimidate /ɪnˈtɪmɪdeɪt/, proficiency /pɹəˈfɪʃənsi/
Sonidos difíciles para hispanohablantes:
- s + consonante al inicio — sin añadir una “e” delante: stimulate /ˈstɪm.jəˌleɪt/, straightforward /ˌstɹeɪtˈfɔː(ɹ)wə(ɹ)d/
- /z/ — sonora, no /s/: musician /mjuˈzɪʃən/, compose /kəmˈpəʊz/
- /h/ — una aspiración suave, no la “j”: hugely /ˈhjuːd͡ʒli/, hurry /ˈhʌ.ɹi/
Cómo practicar con este vídeo
- Escucha el vídeo entero una vez sin hablar y anota las palabras que no conoces.
- Haz shadowing frase por frase a velocidad normal, repitiendo cada una hasta que tu ritmo coincida con el del hablante.
- Grábate y compara con el original, prestando atención a palabras como musician, assess, compose.
¿Qué es la Técnica de Shadowing?
Shadowing es una técnica de aprendizaje de idiomas respaldada por la ciencia, desarrollada originalmente para la formación de intérpretes profesionales y popularizada por el políglota Dr. Alexander Arguelles. El método es simple pero poderoso: escuchas audio en inglés nativo y lo repites en voz alta de inmediato, como una sombra que sigue al hablante con solo 1-2 segundos de retraso. A diferencia de la escucha pasiva o los ejercicios de gramática, el shadowing obliga a tu cerebro y músculos de la boca a procesar y reproducir simultáneamente patrones de habla reales. Las investigaciones muestran que mejora significativamente la precisión de la pronunciación, la entonación, el ritmo, el habla conectada, la comprensión auditiva y la fluidez al hablar, convirtiéndola en una de las metodologías más efectivas para la preparación del IELTS Speaking y la comunicación en inglés en el mundo real.