Pratica di Shadowing: IELTS ASMR Podcast #08 - Luyện nghe thụ động | Phụ đề Anh & Việt - Impara a parlare inglese con YouTube
B2
Section 1.
283 frasi
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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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Contesto e Sfondo
Nel video "IELTS ASMR Podcast #08", ascoltiamo una conversazione telefonica tra un musicista, Jim, e un rappresentante di un'agenzia musicale. Questa interazione è un esempio pratico di comunicazione quotidiana, utile per chi sta cercando di imparare l'inglese con YouTube. Jim, nuovo nella zona, si informa sui servizi dell'agenzia e su come possa entrare in contatto con altri musicisti. La conversazione fornisce un'opportunità per apprendere il linguaggio specifico utilizzato nell'ambito della musica e del networking.
Top 5 Frasi per la Comunicazione Quotidiana
- Hello, Music Alive. How can I help you? - Un modo formale per iniziare una conversazione telefonica.
- Can I make a note of your name? - Una frase utile per registrare informazioni importanti.
- We deal with modern music, especially rock. - Per comunicare specifiche preferenze musicali.
- Would you like me to send you a copy? - Ottima per offrire informazioni aggiuntive.
- We're pretty much all musicians ourselves too. - Una frase che crea connessione e empatia.
Guida Passo-passo al Shadowing
Per affrontare le difficoltà di questo video e migliorare la tua pratica di conversazione in inglese, puoi seguire questi passaggi specifici per lo shadow speak.
- Ascolta attentamente: Fai partire il video e ascolta la conversazione senza guardare il testo. Cerca di familiarizzare con il tono e la pronunciabilità delle parole.
- Rivedi con i sottotitoli: Riavvolgi il video e attiva i sottotitoli in inglese. Questo ti aiuterà a vedere le parole scritte mentre le senti.
- Fai shadowing: Metti in pausa il video frequentemente e ripeti le frasi appena ascoltate, cercando di emulare intonazione e ritmo. Questo è fondamentale per il technique di shadowspeak.
- Pratica in duo: Se possibile, trova un partner di conversazione e provate a recitare la conversazione insieme, assegnando ruoli al musicista e al rappresentante dell'agenzia.
- Rifinisci il tuo vocabolario: Prendi nota delle frasi che ti sembrano difficili e studiale separatamente. Usale in altre conversazioni per consolidare quanto appreso.
Utilizzando questi passaggi pratici, puoi migliorare la tua fluidità e capire meglio come comunicare in situazioni reali, rendendo la tua esperienza di imparare l'inglese con YouTube ancora più efficace.
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.
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