Pratica di Shadowing: Cambridge IELTS 17 Listening Test 2 with answer | #ieltslistening - Impara a parlare inglese con i video
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Cambridge 17 Listening Test 2.
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You will hear a number of different recordings.
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All the recordings will be played once only.
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The test is in four parts.
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You will have 10 minutes at the end of the test to transfer your answers to the answer sheet.
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Now turn to part one.
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First you have some time to look at questions one to seven.
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Now listen and answer questions 1 to 7.
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Hello, Jane Fairbank speaking.
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Oh, good morning.
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My name's Frank Pritchard.
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I've just retired and moved to Southo.
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I'd like to become a volunteer, and I gather you coordinate voluntary work in the village?
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That's right.
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What sort of thing could I do?
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Well, we need help with the village library.
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We borrow books from the town library, and individuals also donate them.
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So, one thing you could do is get involved in collecting them, if you've got a car, that is.
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Yes, that's no problem.
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The times are pretty flexible, so we can arrange it to suit you.
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Oh, another thing is the records that we keep of the books we're given, and those we borrow and need to return to the town library.
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It would be very useful to have another person to help keep them up to date.
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Right.
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I'm used to working on a computer.
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I presume they're computerised?
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Oh, yes.
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Is the library purpose-built?
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I haven't noticed it when I've walked round the village.
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No. We simply have the use of a room in the village hall.
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The West Room.
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It's on the left as you go in.
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I must go and have a look inside the hall.
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Yes.
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It's a nice building.
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Do you run a lunch club in the village for elderly people?
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I know a lot of places do.
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Yes, we have a very successful club.
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I could help with transport, if that's of any use.
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Oh, definitely.
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People come to the club from neighbouring villages, and we're always in need of more drivers.
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And does the club have groups that focus on a particular hobby, too?
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I could get involved in one or two, particularly if there are any art groups.
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Excellent.
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I'll find out where we need help and get back to you.
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Fine.
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What about help for individual residents?
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Do you arrange that at all?
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Yes, we do it as a one-off.
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Oh, in fact, there's Mrs Carol.
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She needs a lift to the hospital next week and we're struggling to find someone.
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When's her appointment? On Tuesday.
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It would take the whole morning.
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I could do that.
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Oh, that would be great.
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Thank you.
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And also next week, we're arranging to have some work done to Mr. Salisbury's house before he moves, as he isn't healthy enough to do it himself.
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We've got some people to decorate his kitchen, but if you could do some weeding in his garden, that would be wonderful.
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OK, I'd enjoy that.
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And presumably the day and time are flexible?
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Oh yes, just say when would suit you best and we'll let Mr. Selisbury know.
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Good.
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Before you hear the rest of the conversation, you have some time to look at questions 8 to 10.
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Now listen and answer questions 8 to 10.
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The volunteers group also organises monthly social events, which is a great way to meet other people, of course.
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So next month, on the 19th of October, we're holding a quiz.
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A couple of residents are great at planning unusual ones, and we always fill the village hall.
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That sounds like fun.
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Can I do anything to help?
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Well, because of the number of people, we need plenty of refreshments for halfway through.
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So if you could provide any, we'd be grateful.
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I'm sure I could.
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I'll think about what to make and let you know.
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Thank you.
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Then on November the 18th, we're holding a dance, also in the village hall.
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We've booked a band that specialises in music of the 1930s.
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They've been before, and we've had a lot of requests to bring them back.
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I'm not really a dancer, but I'd like to do something to help.
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Well, we sell tickets in advance, and having an extra person to check them at the door as people arrive would be good.
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It can be quite a bottleneck if everyone arrives at once.
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OK, I'm happy with that.
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We're also arranging a New Year's Eve party.
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We're expecting that to be a really big event, so instead of the village hall, it'll be held in the Mountfort Hotel.
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The...
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Mountfort.
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M-O-U-N-T-F-O-R-T hotel.
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It isn't in Southo itself, but it's only a couple of miles away.
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The hotel will be providing dinner, and we've booked a band.
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The one thing we haven't got yet is a poster.
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That isn't something you could do by any chance, is it?
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Well, actually, yes.
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Before I retired, I was a graphic designer, so that's right up my street.
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Oh, perfect.
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I'll give you the details, and then perhaps you could send me a draft? Of course.
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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.
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Now turn to part two.
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First, you have some time to look at questions 11 to 14.
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Now listen and answer questions 11 to 14.
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Good morning and welcome to Oniton Hall, one of the largest estates in the area.
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My name's Nick and I'm one of the guides.
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I'll give you a brief introduction to the estate while you're sitting down and then we'll walk round.
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The estate consists of the house, gardens, parkland and farm and it dates back to the 14th century.
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The original house was replaced in the late 17th century and of course it has had a large number of owners.
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Almost all of them have left their mark, generally by adding new rooms,
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like the ballroom and conservatory, or by demolishing others.
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The farm looks much as it's always done, although the current owner has done a great deal of work to the flower beds.
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In the 17th century, the estate was owned by a very wealthy man called Sir Edward Downes.
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His intention was to escape from the world of politics, after years as an active politician,
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and to build a new house worthy of his big collection of books, paintings and sculptures.
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He broke off contact with his former political allies and hosted meetings of creative and literary people,
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like painters and poets.
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Unusually for his time, he didn't care whether his guests were rich or poor, as long as they had talent.
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Big houses like Arneton had dozens of servants until the 1920s or 30s,
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and we've tried to show what their working lives were like.
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Photographs, of course, don't give much of an idea, so instead, as you go round the house,
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you'll see volunteers dressed up as 19th century servants going about their work.
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They'll explain what they're doing and tell you their recipes or what tools they're using.
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We've just introduced this feature to replace the audio guide we used to have available.
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I see there are a number of children here with you today.
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Well, we have several activities specially for children,
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like dressing up in the sorts of clothes that children wore in the past, and as it's a fine day,
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some of you will probably want to play in the adventure playground.
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Our latest addition is child-sized tractors that you can drive around the grounds.
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Before you hear the rest of the conversation, you have some time to look at questions 15 to 20.
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Now listen and answer questions 15 to 20.
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We'll also be going into the farm that's part of the estate, where there's plenty to do.
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Most of the buildings date from the 18th century, so you can really step back into an agricultural past.
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Until recently, the dairy was where milk from the cows was turned into cheese.
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It's now the place to go for lunch, or afternoon tea, or just a cup of coffee and a slice of homemade cake.
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The big stone building that dominates the farm is the large barn, and in here is our collection of agricultural tools.
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These were used in the past to plough the earth, sow seeds, make gates and much more.
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There's a small barn, also made of stone, where you can groom the donkeys and horses to keep their coats clean.
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They really seem to enjoy having it done, and children love grooming them.
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The horses no longer live in the stables, which instead is the place to go to buy gifts,
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books, our own jams and pickles, and clothes and blankets made of wool from our sheep.
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Outside the shed, which is the only brick building,
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you can climb into a horse-drawn carriage for a lovely relaxing tour of the park and farm.
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The carriages are well over a hundred years old.
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And finally, the parkland, which was laid out in the 18th century with a lake and trees that are now well established.
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You'll see types of cattle and sheep that are hardly ever found on farms these days.
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We're helping to preserve them, to stop their numbers falling further.
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Okay, well, if you'd like to come with me, we will start...
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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.
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Now turn to part three.
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First, you have some time to look at questions 21 to 22.
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Now listen and answer questions 21 to 22.
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Did you make notes while you were watching the performances of Romeo and Juliet, Gemma?
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Yes, I did.
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I found it quite hard, though.
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I kept getting too involved in the play.
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Me too.
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I ended up not taking notes.
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I wrote down my impressions when I got home.
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Do you mind if I check a few things with you, in case I've missed anything?
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And I've also got some questions about our assignment.
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No, it's good to talk things through.
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I may have missed things too.
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OK, great.
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So, first of all, I'm not sure how much information we should include in our reviews.
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Right.
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Well, I don't think we need to describe what happens, especially as Romeo and Juliet is one of Shakespeare's most well-known plays.
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Yeah, everyone knows the story.
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In an essay, we'd focus on the poetry and Shakespeare's use of imagery, etc. But that isn't really relevant in a review.
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We're supposed to focus on how effective this particular production is.
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Hmm.
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We should say what made it a success or a failure.
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And part of that means talking about the emotional impact the performance had on us.
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I think that's important.
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Yes, and we should definitely mention how well the director handled important bits of the play, like when Romeo climbs onto Juliet's balcony.
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And the fight between Mercutio and Tybalt.
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Yes.
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It would also be interesting to mention the theatre space and how the director used it, but I don't think we'll have space in 800 words.
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No, OK.
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That all sounds quite straightforward.
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Before you hear the rest of the conversation, you have some time to look at questions 23-30.
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Now listen and answer questions 23 to 30.
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So, what about the Emporium Theatre's production of the play?
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I thought some things worked really well, but there were some problems too.
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Yeah.
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What about the set, for example?
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I think it was visually really stunning.
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I'd say that was probably the most memorable thing about this production.
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You're right.
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The set design was really amazing.
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But actually, I have seen similar ideas used in other productions.
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What about the lighting?
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Some of the scenes were so dimly lit it was quite hard to see.
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I didn't dislike it.
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It helped to change the mood of the quieter scenes.
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That's a good point.
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What did you think of the costumes?
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I was a bit surprised by the contemporary dress, I must say.
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Yeah, I think it worked well, but I'd assumed it would be more conventional.
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Me too.
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I liked the music at the beginning, and I thought the musicians were brilliant,
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but I thought they were wasted because the music didn't have much impact in Acts 2 and 3.
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Yes, that was a shame.
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One problem with this production was that the actors didn't deliver the lines that well.
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They were speaking too fast.
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It was a problem, I agree.
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But I thought it was because they weren't speaking loudly enough, especially at key points in the play.
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I actually didn't have a problem with that.
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It's been an interesting experience watching different versions of Romeo and Juliet, hasn't it?
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Definitely.
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It's made me realise how relevant the play still is.
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Right.
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I mean, a lot's changed since Shakespeare's time, but in many ways nothing's changed.
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There are always disagreements and tension between teenagers and their parents.
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Yes, that's something all young people can relate to, more than the violence and the extreme emotions in the play.
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How did you find watching it in translation?
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Really interesting.
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I expected to find it more challenging, but I could follow the story pretty well.
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I stopped worrying about not being able to understand all the words and focused on the actor's expressions.
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The ending was pretty powerful.
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Yes, that somehow intensified the emotion for me.
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Did you know Shakespeare's been translated into more languages than any other writer?
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Hmm.
219
What's the reason for his international appeal, do you think?
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I was reading that it's because his plays are about basic themes that people everywhere are familiar with.
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Yeah, and they can also be understood on different levels.
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The characters have such depth.
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Right, which allows directors to experiment and find new angles.
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That's really important.
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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.
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Now turn to part four.
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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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Right, everyone, let's make a start.
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Over the past few sessions, we've been considering the reasons why some world languages are in decline,
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and today I'm going to introduce another factor that affects languages, and the speakers of those languages,
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and that's technology, and in particular, digital technology.
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In order to illustrate its effect, I'm going to focus on the Icelandic language,
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which is spoken by around 321,000 people, most of whom live in Iceland, an island in the North Atlantic Ocean.
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The problem for this language is not the number of speakers, even though this number is small,
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nor is it about losing words to other languages such as English.
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In fact, the vocabulary of Icelandic is continually increasing, because when speakers need a new word for something,
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they tend to create one rather than borrowing from another language.
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All this makes Icelandic quite a special language.
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It's changed very little in the past millennium, yet it can handle 21st century concepts related to the use of computers and digital technology.
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Take, for example, the word for web browser.
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This is Vafri in Icelandic, which comes from the verb to wander.
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I can't think of a more appropriate term because that's exactly what you do mentally when you browse the internet.
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Then there's an Icelandic word for podcast, which is too hard to pronounce, and so on.
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Icelandic, then, is alive and growing, but, and it's a big but, young Icelanders spend a great deal of time in the digital world,
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and this world is predominantly English.
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Think about smartphones.
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They didn't even exist until comparatively recently, but today young people use them all the time to read books,
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watch TV or films, play games, listen to music and so on.
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Obviously, this is a good thing in many respects because it promotes their bilingual skills, but the extent of the influence of English in the virtual world is staggering,
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and it's all happening really fast.
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For their parents and grandparents, the change is less concerning because they already have their native speaker skills in Icelandic, but for young speakers, well,
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the outcome is a little troubling.
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For example, teachers have found that playground conversations in Icelandic secondary schools can be conducted entirely in English,
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while teachers of much younger children have reported situations where their
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classes find it easier to say what is in a picture using English rather than Icelandic.
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The very real and worrying consequence of all this is
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that the young generation in Iceland is at risk of losing its mother tongue.
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Of course, this is happening to other European languages too.
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But while internet companies might be willing to offer, say, French options in their systems,
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it's much harder for them to justify the expense of doing the same for a language
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that has a population the size of a French town, such as Nice.
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The other drawback of Icelandic is the grammar, which is significantly more complex than in most languages.
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At the moment, the tech giants are simply not interested in tackling this.
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So what is the Icelandic government doing about this?
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While large sums of money are being allocated to a language technology fund
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that it is hoped will lead to the development of Icelandic-sourced apps and other social media and digital systems,
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but clearly this is going to be an uphill struggle.
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On the positive side, they know that Icelandic is still the official language of education and government.
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It has survived for well over a thousand years,
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and the experts predict that its future in this nation-state is sound and will continue to be so.
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However, there's no doubt that it's becoming an inevitable second choice in young people's lives.
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This raises important questions.
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When you consider how much of the past is tied up in a language, will young Icelanders lose their sense of their own identity?
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Another issue that concerns the government of Iceland is this.
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If children are learning two languages through different routes, neither of which they are fully fluent in, will they be able to express themselves properly?
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That is the end of part four.
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You now have ten minutes to transfer your answers to the answer sheet.
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Thank you.
281
Thank you.
282
Thank you.
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Thank you.
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Vocabolario e note di pronuncia per questa lezione
Questo video contiene 283 frasi e 3043 parole da ripetere con lo shadowing. Il parlato dura 27:28. Chi parla mantiene un ritmo costante di circa 111 parole al minuto, comodo per lo shadowing. Il 85% delle parole rientra nelle 3.000 più comuni dell’inglese; conviene studiare le altre prima di iniziare.
Vocaboli chiave di questo video
15 parole del video che vale la pena imparare, con pronuncia e significato:
| Parola | Pronuncia | Significato |
|---|---|---|
| arrange verbo | /əˈɹeɪnd͡ʒ/ | disporre, ordinare |
| volunteer sostantivo | /ˌvɑlənˈtɪɹ/ | volontario, volontaria |
| sheet sostantivo | /ʃit/ | foglio |
| arrive verbo | /əˈɹaɪv/ | arrivare, giungere |
| climb verbo | /ˈklaɪ̯m/ | arrampicare, scalare |
| emotion sostantivo | /ɪˈməʊ.ʃən/ | emozione |
| sheep sostantivo | /ˈʃiːp/ | pecora |
| cow sostantivo | /kaʊ/ | vacca, mucca |
| flexible aggettivo | /ˈflɛk.sɪ.bəl/ | flessibile, pieghevole |
| servant sostantivo | /ˈsɝvənt/ | servo, servitore |
| retire verbo | /ɹəˈtaɪɹ/ | ritirarsi |
| borrow verbo | /ˈbɑɹ.oʊ/ | prendere in prestito |
| barn sostantivo | [ˈbɑɹn] | granaio, fienile |
| playground sostantivo | /ˈpleɪɡɹaʊnd/ | parco giochi, parco gioco |
| groom verbo | /ɡɹum/ | curare la propria persona, rendersi presentabile |
I phrasal verb che sentirai
| Parola | Significato |
|---|---|
| end up verbo | andare a finire, finire |
| find out verbo | scoprire |
| sit down verbo | sedersi, accomodarsi |
| write down verbo | sottoscrivere, annotare |
La grammatica di questo video
Le strutture che chi parla usa di più, con le parole esatte del video:
| Struttura | Nel video |
|---|---|
| Frasi condizionali if + frase, will/would + verbo — una condizione e il suo risultato | if you could provide any, we'd be |
| Present perfect have/has + participio passato — un’azione passata che conta ancora adesso | I've just retired · haven't noticed · We've booked |
| Forma passiva be + participio passato — conta ciò che accade, non chi lo fa | will be played · be held · was replaced |
| Frasi relative who / which + frase — un’informazione in più su una persona o una cosa | events, which is · shed, which is · parkland, which was |
Pronuncia a cui fare attenzione
Chi parla usa 74 contrazioni e forme ridotte, come we're, I'm, we've. Pronunciale nella forma breve, così come le senti.
- I suoni “th”: worthy /ˈwɝ.ði/, gather /ˈɡæðɚ/, wealthy /ˈwɛl.θi/
- I suoni “sh” e “zh”: sheet /ʃit/, emotion /ɪˈməʊ.ʃən/, sheep /ˈʃiːp/, unusual /ʌnˈjuːʒ(u)əl/, translation /tɹænzˈleɪʃən/
- Parole lunghe — attenzione all’accento: unusual /ʌnˈjuːʒ(u)əl/, experiment /ɪkˈspɛɹ.ə.mənt/, literary /ˈlɪt.(ə.)ɹə.ɹi/, politician /ˌpɑ.ləˈtɪʃ.ən/, inevitable /ɪˈnɛvɪtəbəl/
Come esercitarsi con questo video
- Ascolta tutto il video una volta senza parlare e annota le parole che non conosci.
- Fai shadowing frase per frase a velocità normale, ripetendo ognuna finché il tuo ritmo coincide con quello di chi parla.
- Registrati e confronta con l’originale, facendo attenzione a parole come arrange, volunteer, sheet.
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.