Pratique du Shadowing: IELTS ASMR Podcast #08 - Luyện nghe thụ động | Phụ đề Anh & Việt - Apprendre l'anglais à l'oral avec YouTube
B2
Section 1.
283 phrases
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Section 1.
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You will hear a telephone conversation between a musician and a man working in a music agency.
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Hello, Music Alive.
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How can I help you?
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Hi, I've just moved to the area and I saw your advert.
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I wanted to find out about your services.
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Sure, what would you like to know?
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Well, I've got a number of questions if that's okay.
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Have you got a few minutes? Of course.
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Can I make a note of your name?
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Yes, I'm Jim.
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Jim Granley.
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Thanks.
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And do you represent every type of musician?
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Can you tell me a bit about that?
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Well, we're basically a networking agency for musicians,
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but we don't actually find you work.
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We have all our members on our database,
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the type of music they play,
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and also we can put people in touch if they want to form a band, for example.
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Is there a lot of live music here?
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Yes, and venues contact us when they need musicians,
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etc. We deal with modern music,
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especially rock, which is what most people seem to enjoy around here.
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But we do also represent some jazz musicians.
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We don't accept classical music, I'm afraid.
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No, that's fine.
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What do you play?
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Guitar and violin, and a bit of flute.
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As I'm new here, I thought you could help me get in touch with people.
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I see.
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Sure.
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We actually have a newsletter I could send you
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that would give you a good idea of what we do and how you can benefit from joining.
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The latest one came out this week.
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Would you like me to send you a copy?
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That would be great.
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Is it weekly?
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No, every month.
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Weekly would be too much work, I think.
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Right.
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And what are the costs for joining and becoming a member?
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Is it expensive?
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I'm on a tight budget.
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You and every other musician in the region.
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No, we do everything to keep costs down because we know what it's like.
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We're pretty much all musicians ourselves too.
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So to join is just £35 and that's a one-off payment.
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Oh actually that's the discounted rate for young musicians under 18s.
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The standard rate is £45.
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Unfortunately I'm over 18.
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And how about joining?
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Can I join when I want?
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Now, for example?
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Or do you have a limit on numbers?
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No, you can join anytime.
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We don't have a limit on the numbers of members we can have.
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The more the merrier, in fact.
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Our membership's gone up recently from 700 to 750.
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That's good.
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And your ad says you also have facilities there that musicians can use.
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Can you explain a bit about that?
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Sure.
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Well, it's not huge, but we do have a couple of rooms where you can rehearse.
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They're soundproof.
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And we've just opened a studio, a small one.
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And it's already proving popular with bands that want to send demo tapes to venues and record labels.
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Wow, that sounds brilliant!
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And is that free?
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Guess not.
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No, that's extra.
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But we do have some free services.
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For example, we can offer legal advice if you need it,
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for contracts and things like that.
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Pretty useful stuff, you know.
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Great!
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So if I'm interested, what's the next step?
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How do I become a member?
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Well, simple really.
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Just send us a letter with your contact details,
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and a recording made within the last couple of months.
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That'll give other members an idea of what you play.
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And where are you based?
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We're at 707 Kipax Street, Marbury.
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How do you spell Kipax?
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It's K-I-P-P-A-X.
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And is there an email address?
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Yes, it's music.talent at bsu.co.uk.
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Talent as in the word?
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Yes.
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Right.
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Section 2 You'll hear the organiser of a fishing competition giving a talk to people participating in the event.
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Hello everyone and welcome to the Albany Fishing Competition.
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I'm going to give you some information you'll need for the next two days.
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Right, let's talk about registration.
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You'll need to head to the registration desk before the event starts.
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If you're here to compete rather than just watch,
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you'll have already paid your entrance fee online and you will have been given a competitor number.
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But to fully complete your registration in the competition,
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we'll need to see some form of identification today.
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So make sure you show that at the desk,
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otherwise you won't be properly entered.
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Right, so what do you get for your entrance fee?
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This is a fully catered competition.
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So whenever you're hungry, either today or tomorrow,
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just go down to the dining tent.
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As for things necessary for fishing,
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you know, your hooks, rods,
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all your gear, I'm sure you've brought all that with you.
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And if you fancy fishing from a boat,
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you'll need to cover the cost of petrol.
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Okay, now, if you want to fish in this country,
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you must have a fishing license and have it with you.
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If you don't have one,
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don't worry, You can always go online and they'll issue you one immediately.
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We wanted to be able to sell them here at the competition,
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but the council wouldn't allow it, sadly.
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I think it's also possible to call the Department of Fisheries,
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but they send them by post,
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so obviously you won't get that in time now.
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OK, so the competition starts today and ends on Sunday evening.
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At 5.30pm you will all have to stop fishing
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and at 6pm exactly the judges will start weighing the fish
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to see how heavy they are in order to choose the winners.
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So you'll need to be in the judging area before then.
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The prize giving will happen later in the evening.
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Right, have a look at your maps and I'll point out the important places.
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First, the registration area.
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To get to it, go to the roundabout in the middle of your map.
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From there, take the road that heads to the east.
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You'll find the registration desk on that road.
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It's a nice shady area surrounded by trees.
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OK, if you're planning to fish from the shore tomorrow,
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then there's a specially designated area for you.
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The shore fishing area is in one particular spot,
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you can't just go anywhere on the coastline.
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You'll find the area directly to the north of the skate park.
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If you're planning to fish from a boat,
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you'll need to go to the boat launching area.
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To reach it, you should go to the roundabout and take the road that's on the right.
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Follow that road to the beach and that's where you launch your boat.
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When the competition is over,
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you need to take your catch to the judging area so we can determine who the winner is.
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To get there, head out from the car park and take the first road on your left.
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Go past the first aid tent and the judging area will be set up down there.
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Meals will be served in the dining area.
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To get there, you'll need to go to the roundabout and take the road that leads west.
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Follow that road and just where there's a sharp bend,
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you'll find where you can eat.
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If you keep going, you'll come to a lighthouse.
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If you're lucky enough to win,
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or you just want to see the winners get their prizes,
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you'll need to head to the prize-giving area.
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It's north of the roundabout, past the playground.
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The prize-giving area's at the end of that road, right on the beach.
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OK.
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Question 3.
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You will hear two first-year art students called Max and Abby talking about their end-of-year art exhibition. So, Abby,
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we have to prepare our individual displays for the end-of-year exhibition
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to showcase all the work we've done for the first year of our art degree.
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Yeah, Max, I've been thinking about how to put it all together.
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I'm excited about letting my friends and family see all the stuff I've produced.
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Me too.
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Actually, I'm really keen to see the work of the other students on our course.
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I mean, it'll be great to see all the finished displays.
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But we've seen what they've been doing throughout the year already, really.
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Anyway, what about getting feedback on our exhibition from our tutor?
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I wonder what that'll be like.
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Mmm, I'm a bit nervous about that part.
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Mmm, I hope our stuff ends up looking as good as some of the displays in last year's exhibition.
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Yeah.
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Do you remember that display of printed textiles?
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Fantastic mixtures of silk and wool,
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all coloured with natural dyes.
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Yeah, I can't actually remember that.
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What sticks in my mind are those ten wooden reproductions one student made,
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all of different types of transport,
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little cars and trains and stuff.
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Yes, it was really delicate work and much harder to do than if he'd tried to construct them out of metal.
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So, our tutor asked us to come up with a name for our display which reflects the work we've done.
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What have you gone for?
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Well, most of what I've done has focused on the countryside,
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so I've been thinking of things connected to that.
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A lot of my larger pieces are views of farmland.
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That's not a particularly memorable name, though.
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I've gone for Mother Nature in the end,
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though I did think about the name Seasons,
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as the fields are shown at different times over the farming year.
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Oh, OK.
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Do you think it's going to be challenging putting our displays together?
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Well, I've pretty much come to a conclusion about which pieces I'll include now.
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I'll have to miss out some of my preparatory drawings for
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the bigger pieces to make sure my best work fits into the space we've been allocated.
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I'm more concerned about how long it will take me to put everything in place.
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We've got a day and a half.
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That'll be plenty.
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Hmm, we'll see.
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What about writing the summary of our work?
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It's for people who visit the exhibition to read and I'm absolutely certain they will.
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It explains the reasons behind our work and they'll want to know what it all means.
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We've got a strict word limit to stick to,
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but I've got so much to say it won't be easy to say it in so few words.
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Hmm, so what about other organizational stuff?
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We'll need good lighting for one thing.
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The technical guys are doing that, aren't they?
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Yeah.
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One thing to do is copy a load of comment forms so people can write what they think of the exhibition.
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Hopefully they'll be kind.
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I'm sure they will.
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I don't know about the journalists who've been invited though.
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They might not be quite as nice to us.
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Well, fingers crossed.
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You never I don't know.
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So, our tutor suggested visiting a few exhibitions to look at the way work is presented
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and to give us a few ideas about improving and displaying our own work.
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Yeah, I liked the On the Water exhibition.
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The way the artist used the brush strokes in the oil painting to create a sense of movement was amazing.
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Mmm, it takes a long time to develop skill like that.
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Maybe we'll get there one day.
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What I liked about the City Life exhibition was the fact that,
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although the paintings themselves were of busy places,
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the display itself wasn't crowded at all.
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Perhaps the fact that the paintings were actually quite small was what created a more open feeling to the exhibition.
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Yeah, though the way they were arranged wasn't especially unusual.
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And then there was the Faces exhibition.
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Yeah, I mean, painting people's portraits isn't a new thing.
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But what I did like was the way the artist managed to reproduce the exact tones of the skin
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and hair of the people in the pictures.
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And the last exhibition we went to see was moods.
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Hmm, I expected that to show emotions.
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People laughing, crying, whatever.
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But it was about plants.
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You don't tend to think of trees and flowers having feelings.
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And I'm not sure they do.
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But it certainly seemed that way in the pictures.
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Not the most obvious choice of subject, that's for sure.
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Anyway, I guess we'd better get on with it.
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Section 4.
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You will hear part of a student presentation about a conservation project on the Florida coast of the United States.
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Today I'm going to be talking about the first year of a regeneration project in a mangrove forest.
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Mangrove forests are found along river estuaries and coastlines and are important
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because they prevent flooding by acting as a barrier between the land and sea sea.
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The mangrove trees have special roots which can breathe and allow them to survive in thick, airless mud.
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They are also a very important habitat for wading birds,
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fish and other animals.
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In the area where the project is taking place,
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there have been a number of problems since the area was first settled over 100 years ago.
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Many of the mangrove trees were initially burnt as firewood by local farmers.
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The mangrove forests were also poisoned by settlers' farming methods
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because the farmers used fertilizer to increase crop yields and this started to seep into the water,
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eventually killing part of the mangrove forest.
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Farming in the area wasn't successful,
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and what was left of the mangrove forest area wasn't valued by local people as crops couldn't be grown there.
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And so what happened was that the area started to be used as somewhere to dump trash.
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Action was urgently needed to protect the mangrove forest and prevent flooding,
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and so the mangrove regeneration project was set up.
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The conservationists involved decided to construct a sand barrier around the forests.
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But unfortunately, this proved to be ineffective.
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The only way forward appeared to be to grow new mangroves from seed.
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Several species of mangrove inhabit the forests in this area of the United States,
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but it is the gray mangroves that we are concerned with here.
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The seed of this plant is about the size of an almond,
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and most seeds fall only when they are fully ripe.
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The Mangrove Regeneration Project first began three years ago.
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The first set of seedlings was planted in small pots and left to germinate in a hothouse.
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The plants thrived, and large roots appeared at the bottom of the pots.
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Ideally, these seedlings should have been conditioned with increasingly salty water before being planted in the sea.
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They had, in fact, only been watered with rainwater.
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As the plants weren't used to a saline environment,
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it was decided to plant them out on the south side of a small island nearby.
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It was hoped that this would allow them to get used to salt water gradually,
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since this part of the island was flooded every day at high tide.
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There were over 100 plants planted in this particular spot,
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and it was necessary to protect them not from the large number of wading birds which visit the area looking for food,
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but from the large rabbit colony living in the area.
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The process for the second set of seedlings was completely different.
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Young seedlings were collected from the forests and then taken to a new site.
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The seedlings were then planted in the seabed behind old mangrove roots for protection.
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However, this method did not prove very successful,
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and the vast majority of these seedlings were washed away in a storm.
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Luckily, the first set of seedlings survived,
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and this method is the one which the project will continue to use in the future.
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That is the end of the listening test.
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Context & Background
In this episode of the IELTS ASMR Podcast, listeners are introduced to a real-world scenario involving a musician, Jim Granley, who is seeking assistance from a music agency. This telephone conversation serves as a practical example of how to engage in discussions about music services and networking within the music industry. The dialogue reveals insights not only into the workings of music agencies but also effective ways to communicate queries and responses in a professional setting. This transcript is particularly useful for those looking to improve their English listening and speaking skills for the IELTS exam and beyond.
Top 5 Phrases for Daily Communication
- “How can I help you?” - A common phrase used in customer service to offer assistance.
- “Can I make a note of your name?” - An essential phrase for establishing communication with a new acquaintance.
- “What do you play?” - A casual way to inquire about someone's musical talents or interests.
- “Is it expensive?” - A straightforward way to ask about costs in a conversation.
- “I’m on a tight budget.” - A polite expression to highlight financial limitations when discussing services.
Step-by-step Shadowing Guide
Enhancing your English speaking skills through the shadowing technique is vital for effective communication and fluency. Here’s a step-by-step guide to utilize the transcript from this video.
- Listen Actively: Start by playing the audio of the conversation. Pay close attention to the pronunciation, intonation, and rhythm of the speakers.
- Pause and Repeat: After each sentence, pause the audio and try to repeat what you heard. This will help you practice shadow speech and improve your pronunciation.
- Use a Shadowing Site: If available, utilize online resources where similar audio practices are offered. These platforms can provide additional context and dialogues to practice with.
- Focus on Key Phrases: Concentrate on incorporating the top phrases from the dialogue. Use them in different contexts in your own conversations to build confidence.
- Record Yourself: After some practice, record yourself speaking. Compare your pronunciation and intonation with the original audio. This feedback loop is essential for improvement.
Incorporating these strategies will not only prepare you for IELTS speaking practice but also equip you with tools to engage effectively in various conversational settings. Remember, consistency is key, so keep practicing your shadowspeaks to achieve fluency!
Qu'est-ce que la technique du Shadowing ?
Le Shadowing est une technique d'apprentissage des langues fondée sur la science, développée à l'origine pour la formation des interprètes professionnels. Le principe est simple mais puissant : vous écoutez de l'anglais natif et le répétez immédiatement à voix haute — comme une ombre suivant le locuteur avec un décalage de 1 à 2 secondes. Les recherches montrent une amélioration significative de la précision de la prononciation, de l'intonation, du rythme, des liaisons, de la compréhension orale et de la fluidité.
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