쉐도잉 연습: Cambridge 11 Test 2 Section 4 Listening - 영상으로 영어 말하기 배우기
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Section 4 You will hear part of a lecture to students of architecture about the design of a public building.
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First, you have some time to look at questions 31 to 40.
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Thank you.
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Transcription by CastingWords
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we've been discussing the factors the architect has to consider
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when designing domestic buildings i'm going to move on now to consider the design of public buildings
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and i'll illustrate this by referring to the new taylor concert hall that's recently been completed here in the city
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So, as with a domestic building, when designing a public building,
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an architect needs to consider the function of the building.
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For example, is it to be used primarily for entertainment or for education or for administration?
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The second thing the architect needs to think about is the context of the building.
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This includes its physical location, obviously, but it also includes the social meaning of the building,
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how it relates to the people it's built for.
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And finally, for important public buildings, the architect may also be looking for a central symbolic idea on which to base the design,
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a sort of metaphor for the building and the way in which it is used.
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Let's look at the new Taylor Concert Hall in relation to these ideas.
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The location chosen was a site in a run -down district that has been ignored in previous redevelopment plans.
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It was occupied by a factory that has been empty for some years.
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The whole area was some distance from the high -rise office blocks of the central business district and shopping centre,
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but it was only one kilometre from the ring road.
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The site itself was bordered to the north by a canal,
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which had once been used by boats bringing in raw materials when the area was used for manufacturing.
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The architect chosen for the project was Tom Harrison.
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He found the main design challenge was the location of the site, in an area that had no neighbouring buildings of any importance.
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To reflect the fact that the significance of the building in this quite run -down location was as yet unknown,
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he decided to create a building centred around the idea of a mystery, something whose meaning still has to be discovered.
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So how was this reflected in the design of the building?
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Well, Harrison decided to create pedestrian access to the building and to make use of the presence of water on the site.
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As people approach the entrance, they therefore have to cross over a bridge.
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He wanted to give people a feeling of suspense as they see the building first from a distance and then close up,
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and the initial impression he wanted to create from the shape of the building as a whole was that of a box.
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The first side that people see, the southern wall, is just a high flat wall uninterrupted by any windows.
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This might sound off -putting, but it supports Harrison's concept of the building,
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that the person approaching is intrigued and wonders what will be inside.
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And this flat wall also has another purpose.
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At night time, projectors are switched on and it functions as a huge screen onto which images are projected.
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The auditorium itself seats 1 ,500 people, the floors supported by 10 massive pads.
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These are constructed from rubber and so are able to absorb any vibrations from outside and prevent them from affecting the auditorium.
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The walls are made of several layers of honey -coloured wood, all sourced from local beech trees.
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In order to improve the acoustic properties of the auditorium and to amplify the sound, They are not straight, they are curved.
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The acoustics are also adjustable, according to the size of orchestra and the type of music being played.
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In order to achieve this, there are nine movable panels in the ceiling above the orchestra, which are all individually motorised.
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And the walls also have curtains, which can be opened or closed to change the acoustics.
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The reaction of the public to the new building has generally been positive.
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However, the evaluation of some critics has been less enthusiastic.
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In spite of Harrison's efforts to use local materials, they criticise the style of the design as being international rather than local,
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and say it doesn't reflect features of the landscape or society for which it is built.
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That is the end of Section 4.
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You now have half a minute to check your answers.
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That is the end of the listening test.
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You now have ten minutes to transfer your answers to the answer sheet.
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Please stop writing and wait for your question booklet to be collected.
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단어 학습나만의 단어장 만들기
단어 게임놀면서 외우기
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이 레슨의 어휘와 말하기 포인트
이 말하기 레슨은 영상 “Cambridge 11 Test 2 Section 4 Listening”을(를) 바탕으로 합니다. 가장 자주 반복되는 단어는 다음과 같습니다: design, architect, wall, location, site. 이 영상에는 섀도잉할 문장 52개와 단어 771개가 있습니다. 말하는 구간의 길이는 7:22입니다. 화자는 분당 약 105단어로 천천히 말해서 소리 하나하나를 따라 하기에 여유가 있습니다. 단어의 86%가 영어에서 가장 많이 쓰이는 3,000단어에 속합니다. 나머지는 연습 전에 미리 확인해 두세요.
이 영상의 핵심 어휘
영상에 나오는 익혀 둘 만한 단어 15개를 발음, 뜻과 함께 정리했습니다.
| 단어 | 발음 | 뜻 |
|---|---|---|
| architect 명사 | /ˈɑɹ.kɪˌtɛkt/ | 설계자, 계획자 |
| reflect 동사 | /ɹɪˈflɛkt/ | 반사(反射)하다 |
| orchestra 명사 | /ˈɔː.kɪs.tɹə/ | 오케스트라 |
| ignore 동사 | /ɪɡˈnɔː/ | 무시하다 |
| mystery 명사 | /ˈmɪs.t(ə.)ɹi/ | 신비, 미스터리 |
| refer 동사 | /ɹɪˈfɜː/ | 언급하다 |
| architecture 명사 | /ˈɑː.kɪˌtɛk.t͡ʃə/ | 건축, 건축학 |
| layer 명사 | /ˈleɪ̯ɚ/ | 층 |
| sheet 명사 | /ʃit/ | 장, 시트 |
| discover 동사 | /dɪˈskʌvə/ | 발견하다 |
| entrance 명사 | /ˈɛn.tɹəns/ | 입구 |
| collect 동사 | /ˈkɑlɪkt/ | 수집하다 |
| honey 명사 | /ˈhʌni/ | 꿀, 봉밀 |
| landscape 명사 | /ˈlan(d)skeɪp/ | 풍경, 경관 |
| impression 명사 | /ɪmˈpɹɛʃn̩/ | 인상 |
이 영상의 문법
화자가 가장 많이 쓰는 문형을 영상 속 실제 표현과 함께 정리했습니다.
| 문형 | 영상 속 표현 |
|---|---|
| 수동태 be + 과거분사 — 누가 하는지보다 무슨 일이 일어나는지에 초점 | been completed · be used · is used |
| 현재완료 have/has + 과거분사 — 과거의 일이 지금도 관련이 있을 때 | that's recently been completed · has been ignored · has been |
| 관계절 who / which + 절 — 사람이나 사물에 대한 추가 정보 | orchestra, which are · curtains, which can |
| “might / may” 가능성 might/may + 동사 — 가능하지만 확실하지 않은 일 | may also be · might sound |
주의할 발음
화자는 doesn't, I'll, I'm 같은 축약형과 약화된 형태를 4번 사용합니다. 들리는 대로 짧게 발음하세요.
- “sh”와 “zh” 소리: sheet /ʃit/, impression /ɪmˈpɹɛʃn̩/, relation /ɹɪˈleɪʃ(ə)n/, evaluation /ɪˌvæljuˈeɪʃn̩/, vibration /vaɪˈbɹeɪʃən/
- 긴 단어 — 강세 위치에 주의: auditorium /ˌɔ.dɪˌto.ɹi.əm/, primarily /ˈpɹaɪ.mə.ɹə.li/, architecture /ˈɑː.kɪˌtɛk.t͡ʃə/, evaluation /ɪˌvæljuˈeɪʃn̩/, significance /sɪɡˈnɪfɪkəns/
한국어 화자가 어려워하는 소리:
- /f/ — ㅍ(/p/)으로 바꾸지 말고 윗니를 아랫입술에 대기: reflect /ɹɪˈflɛkt/, refer /ɹɪˈfɜː/, significance /sɪɡˈnɪfɪkəns/, metaphor /ˈmɛt.ə.fɚ/, amplify /ˈæm.plə.faɪ/
- /v/ — ㅂ(/b/)과 구별하기: discover /dɪˈskʌvə/, evaluation /ɪˌvæljuˈeɪʃn̩/, curve /kɚv/, individually /ˌɪndɪˈvɪd͡ʒ(u)əli/, vibration /vaɪˈbɹeɪʃən/
- /z/ — ㅈ이 아니라 성대를 울리는 /s/: enthusiastic /ɪnˌθjuːzɪˈæstɪk/, criticize /ˈkɹɪtɪsaɪz/
이 영상으로 연습하는 방법
- 먼저 말하지 않고 영상을 끝까지 듣고 모르는 단어를 적어 둡니다.
- 보통 속도로 한 문장씩 섀도잉하고, 화자의 리듬과 맞을 때까지 반복합니다.
- 자신의 목소리를 녹음해 원본과 비교하고, architect, reflect, orchestra 같은 단어에 특히 주의합니다.
쉐도잉이란? 영어 실력을 빠르게 키우는 과학적 방법
쉐도잉(Shadowing)은 원래 전문 통역사 훈련을 위해 개발된 언어 학습 기법으로, 다언어 학자인 Dr. Alexander Arguelles에 의해 대중화된 방법입니다. 핵심 원리는 간단하지만 매우 강력합니다: 원어민의 영어를 들으면서 1~2초의 짧은 지연으로 즉시 소리 내어 따라 말하는 것——마치 '그림자(shadow)'처럼 화자를 따라가는 것입니다. 문법 공부나 수동적인 청취와 달리, 쉐도잉은 뇌와 입 근육이 동시에 실시간으로 영어를 처리하고 재현하도록 훈련합니다. 연구에 따르면 이 방법은 발음 정확도, 억양, 리듬, 연음, 청취력, 말하기 유창성을 크게 향상시킵니다. IELTS 스피킹 준비와 자연스러운 영어 소통을 원하는 분들에게 특히 효과적입니다.