Prática de Shadowing: Joanna's psychology study | IELTS LISTENING TEST | SECTION-3 - Aprenda a falar inglês com o YouTube
B2
You will hear a student called Joanna talking to her new supervisor about some research she has done on psychology and music.
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You will hear a student called Joanna talking to her new supervisor about some research she has done on psychology and music.
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First, you have some time to look at questions 21 to 26.
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you Thank you.
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26. Hi, Joanna.
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Good to meet you.
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Now, before we discuss your new research project,
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I'd like to hear something about the psychology study you did last year for your master's degree.
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So, how did you choose your subjects for that?
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Well, I had six subjects,
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all professional musicians and all female three were violinists
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and there was also a cello player and a pianist
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and a flute player they were all very highly regarded in the music world
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and they'd done quite extensive tours in different continents and quite a few had won prizes and competitions as well.
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And they were quite young, weren't they?
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Yes, between 25 and 29.
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The mean was 27.8.
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I wasn't specifically looking for artists who'd produced recordings,
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but this is something that's just taken for granted these days,
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and they all had.
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Right.
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Now, you collected your data through telephone interviews, didn't you?
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Yes.
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I realised if I was going to interview leading musicians,
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it'd only be possible over the phone because they're so busy.
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I recorded them using a telephone recording adapter.
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I'd been worried about the quality,
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but it worked out alright.
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I managed at least a 30-minute interview with each subject, sometimes longer.
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Did doing it on the phone make it more stressful?
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I thought it might.
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It was all quite informal,
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though, and in fact they seemed very keen to talk.
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And I don't think using the phone meant I got less rich data.
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Rather the opposite, in fact.
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Interesting.
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And you were looking at how performers dress for concert performances.
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That's right.
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My research investigated the way players see their role as a musician
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and how this is linked to the type of clothing they decide to wear.
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But that focus didn't emerge immediately.
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When I started, I was more interested in trying to investigate the impact of what was worn on those listening,
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and also whether someone like a violinist might adopt a different style of clothing from,
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say, someone playing the flute or the trumpet.
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It's interesting that the choice of dress is up to the individual, isn't it?
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Yes.
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You'd expect there to be rules about it in orchestras,
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but that's quite rare.
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Before you hear the rest of the discussion,
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you have some time to look at questions 27 to 30.
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Now listen and answer questions 27 to 30.
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You only had women performers in your study.
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Was that because male musicians are less worried about fashion?
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I think a lot of the men are very much influenced by fashion,
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but in social terms, the choices they have are more limited.
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They'd really upset audiences if they strayed away from quite narrow boundaries.
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Now, popular music has quite different expectations.
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Did you read Mike Frost's article about the dress of women performers in popular music?
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No.
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Well, he points out that a lot of female singers
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and musicians in popular music tend to dress down in performances and wear less feminine clothes,
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like jeans instead of skirts.
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And he suggests this is because otherwise they'd just be discounted as trivial.
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But you could argue they're just wearing what's practical.
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I mean, a pop music concert is usually a pretty energetic affair.
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Yes, he doesn't make that point,
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but I think you're probably right.
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I was interested by the effect of the audience as a musical performance
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when it came to the choice of dress the subjects i
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interviewed felt this was really important it's all to do with what we understand by performance as a public event
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they believed the audience had certain expectations
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and it was up to them as performers to fulfill these
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expectations to show a kind of esteem they weren't afraid of looking as if they'd made an effort to look good.
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I think in the past,
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the audience would have had those expectations of one another too,
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but that's not really the case now.
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Not in the UK anyway.
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No. And I also got interested in what sports scientists are doing too with regard to clothing.
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Musicians are quite vulnerable physically, aren't they?
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Because the movements they carry out are very intensive and repetitive,
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so I'd imagine some features of sports clothing could safeguard the players from the potentially dangerous effects of this sort of thing.
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Yes, but musicians don't really consider it.
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They avoid clothing that obviously restricts their movements,
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but that's as far as they go.
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Anyway, coming back to your own research,
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do you have any idea where you're going from here?
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I was thinking of doing a study using an audience, including...
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That is the end of section 3.
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You now have half a minute to check your answers.
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Contexto & Antecedentes
Neste vídeo, ouvimos a estudante Joanna discutindo sua pesquisa de mestrado sobre a psicologia da música com seu novo supervisor. Joanna se destacou ao investigar como músicos profissionais, todos mulheres com idades entre 25 e 29 anos, abordam suas performances no que diz respeito à vestimenta. Com uma abordagem inovadora, ela coletou dados por meio de entrevistas telefônicas, o que não apenas ofereceu flexibilidade, mas também uma visão rica sobre como os músicos percebem seu papel e sua identidade através da moda.
Top 5 Frases para Comunicação Diária
- "Como você escolheu seus sujeitos para a pesquisa?" - Uma expressão útil para iniciar conversas sobre projetos ou pesquisas.
- "Eu percebi que, se eu fosse entrevistar músicos, seria possível apenas por telefone." - Uma frase que exemplifica a adaptação em abordagens de comunicação.
- "Foi tudo bastante informal, na verdade, e eles pareciam muito interessados em conversar." - Ideal para descrever dinâmicas de conversa descontraídas.
- "A escolha de vestido é responsabilidade do indivíduo, não é?" - Pode ser usada para discutir escolhas pessoais em diferentes contextos.
- "Eu consegui, pelo menos, uma entrevista de 30 minutos com cada sujeito." - Útil ao compartilhar experiências sobre entrevistas ou pesquisas.
Guia Passo a Passo de Shadowing
Para melhorar sua pronúncia em inglês e praticar a conversação, siga este guia de shadowing com base no vídeo de Joanna:
- Ouça o áudio atentamente: Comece escutando o vídeo completamente para entender o contexto geral da conversa.
- Transcreva partes selecionadas: Escolha frases que você considera importantes e escreva-as. Isso ajudará a fixar vocabulário e estruturas.
- Realize o shadowing em inglês: Ouça cada frase após o locutor e repita imediatamente. Tente imitar a entonação e a velocidade. Isso facilita a prática de conversação em inglês.
- Grave-se: Gravar sua prática pode permitir que você ouça suas próprias pronúncias e compare com a do vídeo. Isso é essencial para melhorar a pronúncia em inglês.
- Reveja e ajuste: Após algumas tentativas, ouça novamente o vídeo e compare seu desempenho. Anote as áreas que precisam de mais prática.
Quando você se dedica a shadow speech, reforça não só a fala, mas também a compreensão auditiva, facilitando sua jornada de aprender inglês com YouTube. A prática regular e focada aumentará sua confiança e fluência ao falar.
O que é a Técnica de Shadowing?
Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.
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