Pratica di Shadowing: British Council - IELTS Listening Practice Test - Impara a parlare inglese con i video
Creazione lezione...
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Part 1 You will hear a student discussing her research project and final thesis submission with her tutor.
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First, you have some time to look at questions 1 to 7.
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Now listen and answer questions 1 to 7.
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Good afternoon, Emily.
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Uh, yes, I see you completed your presentation on Project 4829.
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Good afternoon, Professor.
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Yes, that's right.
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I hope you're pleased with the outcome.
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If I may say so, I think you did exceptionally well.
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The feedback from the panel shows you scored just above the base mark of 65.
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Honestly, I'm relieved.
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I admire Dr. Jonathan Keats' research, and I was determined to analyze his theories properly.
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I had set myself a target of 80, but managing 75 felt like a wonderful achievement.
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I have to admit, case studies on 19th century rural economics, like the one you explored, are often underestimated.
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Most research departments prefer more modern statistical approaches.
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Machine learning models and predictive software are the trend these days.
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That's not really my interest.
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My taste leans toward historical methods.
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They connect better with the kind of archival work I enjoy.
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Well, I hope you have space for all those resources you've been collecting.
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Fortunately, I live near the Central University Library.
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What are the exact requirements for storing the datasets, by the way?
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The primary file size is 2.3 gigabytes, and the secondary archive is 1.2 gigabytes, without the additional visuals, that is.
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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.
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That won't be a problem.
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I'm just glad I managed to complete this challenging project.
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Excellent.
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Before you hear the rest of the conversation, you have some time to look at questions 7 to 10.
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Now listen and answer questions 7 to 10.
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Now, before we finish, I need to confirm a few details for the department's records. Of course.
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Go ahead.
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I recognized your face since you've attended my seminars before, but could you remind me of your full name?
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Oh, yes.
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It's Emily Carter Williams.
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It's a hyphenated surname, so it's a make sure you add the dash in between the two names.
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So that's C-A-R-T-E-R followed by a hyphen then W-I-L-L-I-A-M-S?
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Correct.
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And your contact address please.
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It's Riverside Hall.
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That's R-I-V-E-R-S-I-D-E.
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and I live in Brookfield Town, the postcode you'll need is BL497QP.
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Sorry, was that BN497QP?
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No, it's BL, not an N, then 497QP.
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Perfect.
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I think that's everything.
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Oh, and when would you like to submit the final hard copy of your thesis?
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The office accepts submissions on Mondays and Thursdays, the week after assessments.
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Well, I'm going away on a short trip to Cornwall this Thursday, so that won't work.
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How about next Monday?
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No problem at all.
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So that will be the 14th of June.
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Perfect.
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Thank you, Professor.
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Not at all, Emily.
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It's been a pleasure supervising your work.
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That is the end of part one.
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You now have half a minute to check your answers to part one.
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Part 2 You will hear a guide explaining galleries, facilities, and events at an art museum.
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First, you have some time to look at questions 11 to 15.
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Thank you.
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A very good afternoon to you all, ladies and gentlemen.
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I'm glad you've chosen to visit the prestigious Lisbon Museum of Art today, and I'll look forward to showing you around.
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But first, I would just like you to refer to the maps of the museum
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that you picked up on your way in.
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Now, where you picked up your maps is just to the left as you enter the building, outside the museum store.
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By the way, the store is a great place to pick up some souvenirs before you leave.
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Oh, and if anyone wants to leave a coat in the cloakroom, then please feel free to do so at no extra charge.
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It's just over there on the other side of the entrance to the museum store.
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Okay, so this nice spacious area we're now standing in is the main hall.
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It contains some of the museum's most striking sculptures.
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From here you gain access to all the museum.
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Leading off from the main hall are the Ufazi Gallery and our other large gallery that houses a permanent art collection.
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We'll be starting our tour actually in the permanent collection gallery as it's the nearest of the two galleries to the entrance.
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We'll make our way afterwards to the other gallery I mentioned as it's right next door.
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Oh, the smaller room behind the Ufazi Gallery
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that you see on your maps is just a storage space for the museum
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and access is blocked off to the public by a railing across the entrance to that area.
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So now where were we?
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Ah, yes.
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After we visited those galleries, which will take us a good hour as there are so many interesting exhibits to see,
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we'll make our way back across the main hall and visit the Cowell Room.
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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.
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It's one of the museum highlights and contains some high-quality contemporary art exhibits.
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Oh, I'm so sorry, I forgot to point out the ladies and gents' toilets earlier.
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They're just before you get to the cowl room and are adjacent to the museum store.
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Don't go into the room opposite the toilets, that's our staff room area and kitchen.
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Right, so that's all you need to know for the moment.
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Let's begin the tour.
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Before you hear the rest of the conversation, you have some time to look at questions 16 to 20.
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Now listen and answer questions 16 to 20.
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Well, I hope you all found the tour interesting.
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If any of you would like to become a patron of the museum, you can request information from the museum store.
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Being a patron entitles you to special discounts on visiting exhibitions and first refusal on tickets to special events.
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You will also be the first to know about our museum events as you are automatically placed on the museum's mailing list.
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You can choose to become a gold, silver, or bronze patron of the museum.
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patrons are also permitted free entry for one accompanying guest.
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However, all patrons can receive year-round benefits that are not enjoyed by non-patrons.
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Having said all that, I would now like to announce some very special news.
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Next year will be our centenary celebrations.
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It's hard to believe it, but the museum was founded over 100 years ago.
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Accordingly, we will be seeing in the new year in style with a special Masked Ball.
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This has been organized in response to a special request from some of our patrons.
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Plans have yet to be finalized for this one-off event, but a themed Masked Ball has been suggested,
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the idea being that guests come in the guise of famous artists, past or present.
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One exciting event that has been confirmed is the Summer Garden Party.
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We are anticipating a lot of interest for this one, so it's best to book well in advance.
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Whilst the tickets are by no means cheap, we like to think that the price reflects the quality of the event.
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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.
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It is weather permitting, of course.
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Again, we are dependent on good weather in order for the barbecue to take place.
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Alternatively, a sit-down meal will be provided in the cowl room.
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Everything from the entertainment to the food is included in the ticket price, so there are no hidden extras.
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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.
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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.
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We will also have Hamish Barnes here for the first time as artist-in-residence.
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He will be encouraging visitors to adopt a more hands-on approach to art.
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Finally, last but not least, we will be exhibiting the work of Cien Long, who will be making his artistic debut.
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His work will be on show in the Ufazi Gallery over the summer period.
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We are anticipating a large attendance at his exhibition.
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Well, that's all from me.
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I look forward to seeing you at one or maybe all of our events.
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It's certainly going to be an action-packed year for the museum, both culturally and socially.
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That is the end of part two.
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You now have half a minute to check your answers to part 2.
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Part 3 You will hear an art reviewer answering questions from several audience members.
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First, you have some time to look at questions 21 to 25.
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Thank you.
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Now listen and answer questions 21 to 25.
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I think I've spoken enough for now, so it's time to hear from the audience.
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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.
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Hello, my name's Ryan, and I've got a question.
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You described folk art as being the work of people who haven't had formal training at art schools.
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Does that mean that literally anyone could create art?
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Well, what counts as art is always going to be subjective.
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But if we accept some general agreement on what can reasonably be called art, then yes, in principle, anyone could create it.
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The real challenge is whether they can produce remarkable art.
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Excuse me, may I ask a question as well?
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Yes, of course.
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Would you like to introduce yourself to everyone first?
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Sure.
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My name is Sophia.
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All right, Sophia.
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What would you like to ask?
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Don't you think that self-taught artists lack the proper technique to make truly great work?
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Honestly, I thought some of the drawings by those so-called folk artists you showed us looked quite rough.
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I believe you're mixing up the idea of technique with the idea of art itself.
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Strong technical ability doesn't necessarily equal strong art.
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Sometimes remarkable pieces come from talented people who don't possess what we would normally think of as professional skills.
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Okay, who's next with the question?
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Hello, I've got one.
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Oh, my name's Daniel, by the way.
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I just wanted to ask how many folk artists were actually recognized during their lifetimes?
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Only a small number.
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The exceptions are the ones who created truly extraordinary pieces, such as Simon Rodia's Towers in California, or Antonio Gaudí's famous structure,
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the Sagrada Familia in Spain.
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Both were built using unconventional methods and recycled objects.
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Yeah, they were incredible.
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I remember those from the pictures you showed earlier.
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But what fascinates people most isn't just the size of these works, but the devotion behind them.
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Both were built almost entirely by one person over decades, often without official approval or permits.
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That secrecy adds to the mystery and romance of the whole story, don't you agree?
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Well, their dedication definitely impressed me.
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Yes.
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Folk art often results in creations that are completely unique.
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Before you hear the rest of the conversation, you have some time to look at questions 26 to 30.
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Now listen and answer questions 26 to 30.
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So, now I'd like to ask you some questions.
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Out of all the folk artworks I showed earlier, which one did you find the most striking and why?
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May I answer that?
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Yes.
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Hello again, Ryan.
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Which piece was your favorite?
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Oddly enough, the illustrations by Henry Darger, the perspective is strange and inconsistent, but the detail is astonishing.
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Well, if you look at celebrated artists like Van Gogh and Cezanne, perspective wasn't their main concern either.
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Strangely, I can appreciate that style when it comes to folk art, but I don't feel the same about contemporary art.
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Maybe it's because I don't view the two styles with the same expectations.
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Interesting.
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You mean you expect more from trained professional artists like Van Gogh or Cezanne?
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Yes, exactly.
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I expect contemporary artists to at least use conventional tools like perspective,
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while folk artists are widely honored.
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I see your point.
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Apart from folk art, I suppose you prefer more traditional painters?
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I think so.
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Like most people, I can appreciate the works of the Renaissance masters like Raphael and Botticelli.
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Their techniques were brilliant.
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And, of course, I can also understand the continuing popularity of the Impressionists.
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One last question.
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What about modern sculpture?
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Do you view modern sculpture the same way you view modern painting?
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I think sculpture requires skill no matter what.
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Handling wood, metal, or stone is never easy.
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But to be honest, I find that many modern sculptures in public spaces get more admiration than they really deserve.
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Hmm.
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You certainly have clear opinions about art.
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Well, it was most interesting hearing your perspective.
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That is the end of part three.
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You now have half a minute to check your answers to part three.
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Part 4.
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You will hear a lecture exploring how animals produce paintings and sculptures.
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First, you have some time to look at questions 31 to 40.
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Now listen and answer questions 31 to 40.
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I've just shown you a series of slides featuring a surprisingly wide variety of paintings.
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As I was presenting them, I noticed a few chuckles among you, and even some puzzled looks.
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Perhaps calling today's lecture Unexpected Masters of Creativity was a little misleading.
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Although the brushwork seemed clumsy-looking, the artworks are still impressive considering who created them.
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Well, let me surprise you further.
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What I'm about to reveal should make the title much clearer.
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All those artworks you just saw were created by, wait for it, animals.
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Yes, I can hear a few murmurs of disbelief now.
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Of course, when compared to human standards, these paintings appear basic.
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But when you remember that they were made by animals, the results are nothing short of extraordinary.
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And it wasn't only our closest relatives like monkeys who produced them.
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The artworks came from an astonishing range of creatures like dolphins, parrots, and even anteaters.
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In fact, not long ago,
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the Manchester Natural History Gallery held what was thought to be the very first exhibition of paintings created by different species.
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This event included contributions from a chimpanzee, an orangutan, and a dolphin.
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While the ape paintings resembled the energetic style of abstract artists such as Paula Ginrothko,
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the Dolphins piece showed a more representational form depicting a fishbowl.
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Now, before anyone here assumes this is some groundbreaking discovery, I want to clarify a few things.
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The idea that animals can contribute to the artistic world was already being explored as early as the 1960s.
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During that period, a renowned anthropologist named Margaret Linton,
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who also wrote bestsellers like Mind Watching and The Human Animal,
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introduced the British public to Sally and painting Orangutan in a popular television program.
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At that time, these animal creations were dismissed as amusing oddities.
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Today, though, animal-made artworks are regarded far more seriously,
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as many of these creatures display a natural talent and employ their senses in ways quite different from human artists.
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Because of this recognition, it is now fairly standard for wildlife parks and aquariums to provide artistic outlets for their residents.
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The goal is not only to enrich the lives of the animals, but also to stimulate them physically and mentally.
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Clearly, you cannot simply hand a snake a paintbrush and expect it to produce a masterpiece.
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Instead, caretakers supply materials appropriate to each species.
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For instance, anteaters, which naturally feed by using their long tongues to search through soil for ants,
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have been given narrow tubes to blow paint across canvases, mimicking their feeding behavior.
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One of the most intriguing outcomes of this practice is the discovery that many animals willingly and spontaneously engage in making art.
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It appears they experience enjoyment, much like humans do, when applying colors to paper or shaping clay.
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This suggests there are far more commonalities between people and other animals than some critics might prefer to acknowledge.
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Yet, for those of you who remain doubtful, let me add a word of caution.
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Some Some examples of elephant and ape paintings have shown striking similarities to contemporary Western art.
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In fact, the stylistic elements suggest there might have been a degree of human influence.
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A famous case involved an elephant called Dara, whose keeper actually guided her trunk as she made brushstrokes on a canvas.
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However, when examining animal art, skeptics should have a fair perspective.
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That is the end of part 4.
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Thank you.
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Lo scenario: una conversazione tra studente e tutor
Il video presenta una discussione reale tra Emily, una studente, e il suo tutor, durante la quale si parla di un progetto di ricerca, i risultati, i requisiti per la consegna della tesi e i dettagli anagrafici. Questo scenario è perfetto per esercitarti a capire il linguaggio quotidiano accademico, con toni formali ma naturali, e a identificare informazioni specifiche come nomi, indirizzi e date. È un esempio eccellente per migliorare la pronuncia inglese e la comprensione auditiva, poiché le voci sono chiare e il contesto è concreto.
Frasi utili e collocazioni da memorizzare
- "Scores just above the base mark": Esprime che un punteggio è leggermente superiore alla soglia minima. Utile in contesti accademici o di valutazione.
- "Manage an achievement": Indica di ottenere un risultato con sforzo. Ad esempio: "Ho managing a superare l'esame con 90/100".
- "Lean toward historical methods": Significa preferire un approccio storico. Utile per esprimere le proprie preferenze in discussioni professionali o accademiche.
- "Submit the final hard copy": Riferisce alla consegna della versione cartacea definitiva di un lavoro. Fondamentale per capire le procedure di consegna in contesti accademici.
La tua sfida: shadow speech per migliorare la pronuncia
Per esercitarti efficacemente, usa la tecnica del shadow speak (o shadowspeak), che consiste nel ripetere immediatamente dopo le frasi del video, imitando l'intonazione, il ritmo e la pronuncia. Ecco come procedere: 1. Ascolta una frase della conversazione (ad esempio: "I hope you're pleased with the outcome"). 2. Pausa il video e ripeti la frase subito dopo, cercando di essere il più simile possibile. 3. Ripeti il processo per 5-10 frasi, concentrandoti sulle parole difficili (come "hyphenated surname" o "postcode"). Questa tecnica aiuta a rafforzare la memoria muscolare per la pronuncia inglese e a migliorare la fluidità. Prova ora con il dialogo tra Emily e il tutor: i toni calmi e la chiarezza delle voci rendono questo video ideale per iniziare con il shadowing.
La grammatica di questo video
Le strutture che chi parla usa di più, con le parole esatte del video:
| Struttura | Nel video |
|---|---|
| Present perfect have/has + participio passato — un’azione passata che conta ancora adesso | you've attended · you've chosen · has been organized |
| Forma passiva be + participio passato — conta ciò che accade, non chi lo fa | was determined · are often underestimated · is blocked |
| Frasi relative who / which + frase — un’informazione in più su una persona o una cosa | maps, which are · galleries, which will · gardens, which are |
Cos'è la tecnica dello Shadowing?
Shadowing è una tecnica di apprendimento delle lingue supportata da studi scientifici, originariamente sviluppata per la formazione dei traduttori professionisti e resa popolare dal poliglotta Dr. Alexander Arguelles. Il metodo è semplice ma potente: ascolti un audio in inglese di madrelingua e lo ripeti immediatamente ad alta voce — come un'ombra che segue il parlante con un ritardo di solo 1–2 secondi. A differenza dell'ascolto passivo o degli esercizi di grammatica, lo shadowing costringe il tuo cervello e i muscoli della bocca a elaborare e riprodurre simultaneamente i modelli di discorso reale. La ricerca dimostra che migliora significativamente la precisione della pronuncia, l'intonazione, il ritmo, il discorso connesso, la comprensione dell'ascolto e la fluidità del parlato — rendendolo uno dei metodi più efficaci per la preparazione alla prova di speaking dell'IELTS e per la comunicazione reale in inglese.