Практика Shadowing: Which TWO points did students most frequently make about their musical background before PART 3 - Изучайте разговорный английский по видео

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Part 3.

You will hear two music students discussing the results of a survey they have done.

First, you have some time to look at questions 21 to 26.

Now listen carefully and answer questions 21 to 26.

So, Gareth, we need to organise the findings from our survey or music students for the final presentation.

Yes, Lorna.

I think we've got some very interesting results.

Obviously, we need to start by saying

that we interviewed all the third-year students doing a music degree and state the objective of our research project, that is, to find out about their attitudes to performing.

And then we should talk about the students' musical backgrounds before coming to university.

The most important points to make are

that although most people have actually composed music during the course

that wasn't the case when they arrived

and the other thing they had in common was the piano

well they'd had access to a piano at some point

but not all had studied it formally i thought the most interesting finding was

that before coming here almost everyone was involved in a chamber orchestra

or band or singing in a choir and playing in front of live audiences but varying enormously in size.

Some had only played in tiny venues.

I think it's worth saying that.

OK.

And as you might expect from people wanting to study music, they all had a degree of proficiency in at least two instruments.

But in most cases, one of the instruments was dominant.

Right.

We need to talk about attitudes to music practice.

The most striking thing here is

that even students who you'd expect to practice for hours every

day until they get it perfect say it's being terrified of failing that really makes them practice.

I know I'm the same.

Me too.

It's interesting what was said about practicing alone.

Some people preferred that because they could focus more on their weak points.

But that wasn't a majority view.

What most of them agree on is that there's nothing more rewarding than mastering something that's really hard to learn.

That's right.

OK, after that we should talk a bit about the pieces that students select for assessed performances.

There wasn't quite so much consensus on this, was there?

A few people prefer to do pieces which are relatively unknown, while others choose the ones they think will show off their technical ability.

But they were in the minority.

I think the first thing to say is

that a high percentage said they would always try to learn their pieces by heart, because it's too easy to get lost if you're trying to read and play when you're nervous.

OK.

And quite a lot of them said it helps to listen to other people playing your chosen piece, preferably recordings but even just other students

before you hear the rest of the discussion you have some time to look at questions 27 to 30

Now listen and answer questions 27 to 30.

So finally, we need to look at the findings for students' attitudes to performing.

We should point out that this includes informal and formal public performances, as well as assessed ones.

Yes, that's important.

I expected to find that performing solo would make students very nervous, but in fact that isn't the case.

They do find it hugely challenging to start with, but they appreciate the challenge and find it stimulating.

Right.

I was surprised by what students said about deciding which pieces to perform.

I thought they'd all say this was easy.

For me, it's always been quite straightforward.

Which pieces do I like best?

And which pieces can I play well?

And my repertoire is quite limited anyway.

But the most commonly cited answer was that it took them ages to make their minds up.

I suppose it's because there are so many factors involved.

You need to consider your audience, the venue, the time available to learn the piece, especially if it's complicated.

You need to think about all these things, and you can't do that in a hurry.

That's true.

Then there's performing with musicians from a different genre, like a classical musician playing with a jazz group.

That can really be fun.

But most of the music students had never even considered it.

Right.

For performing with musicians who play the same instrument, almost everyone put the same thing.

Yes, they all said it was incredibly helpful, and not at all intimidating, which says a lot for the department's ethos.

Yes, that's a good point.

Okay, what I think we should sort out now...

Thank you.

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FOR YOU

О этом уроке

В этом уроке ты попрактикуешься в понимании разговорного английского на примере диалога двух студентов-музыкантов, обсуждающих результаты опроса. Ты узнаешь, что студенты чаще всего упоминали о своём музыкальном фоне перед поступлением в университет, а также улучшишь навыки восприятия и повторения речи (shadowspeak). Это отличная возможность для практики разговорного английского в контексте реальной беседы.

Ключевой вокабуляр и фразы

Chamber orchestra — камерный оркестр
Live audiences — живые зрители
Proficiency — уровень владения (инструментом)
Mastering — овладение (сложным материалом)
Assessed performances — оцениваемые выступления
Stimulating — стимулирующий, вдохновляющий

Советы по практике

Для эффективной тренировки shadowing (shadowspeak) следуй этим шагам. Сначала прослушай фрагмент видео несколько раз, чтобы понять общий смысл. Затем попробуй повторять речь за говорящими, копируя их темп и интонацию. Диалог идёт довольно естественным образом, без перегрузки сложными словами, так что это подходит для начинающих и средних уровней. Обрати внимание на сокращения (например, "I'm the same" вместо "I am the same") — это поможет лучше усваивать разговорный английский. Практикуйся каждый день по 10–15 минут, и ты увидишь прогресс в восприятии и произношении. Shadowing английский — это простой, но эффективный способ улучшить свою речь!

Грамматика в этом видео

Конструкции, которые говорящий использует чаще всего, с точными словами из видео:

Конструкция	В видео
Present Perfect have/has + причастие прошедшего времени — прошлое действие, важное сейчас	have done · have actually composed · it's always been
Пассивный залог be + причастие прошедшего времени — важно, что происходит, а не кто это делает	was involved · was said
Придаточные определительные who / which + предложение — уточнение о человеке или предмете	students who you · pieces which are

Что такое техника Shadowing?

Shadowing — это научно обоснованная техника изучения языка, изначально разработанная для подготовки профессиональных переводчиков и популяризированная полиглотом доктором Александром Аргуэльесом. Метод прост, но эффективен: вы слушаете аудио на английском от носителей языка и немедленно повторяете вслух — как тень, следующая за говорящим с задержкой в 1–2 секунды. В отличие от пассивного прослушивания или грамматических упражнений, Shadowing заставляет мозг и мышцы рта одновременно обрабатывать и воспроизводить реальные речевые паттерны. Исследования показывают, что это значительно улучшает точность произношения, интонацию, ритм, связную речь, понимание на слух и беглость речи — что делает его одним из самых эффективных методов для подготовки к IELTS Speaking и реального общения на английском.

Техника шедоуинга: читать полное пошаговое руководство →

Практика Shadowing: Which TWO points did students most frequently make about their musical background before PART 3 - Изучайте разговорный английский по видео

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О этом уроке

Ключевой вокабуляр и фразы

Советы по практике

Грамматика в этом видео

Что такое техника Shadowing?