ฝึกพูดภาษาอังกฤษด้วยเทคนิค Shadowing จากวิดีโอ: British Council - IELTS Listening Practice Test
กำลังสร้างบทเรียน...
1
Part 1 You will hear a student discussing her research project and final thesis submission with her tutor.
2
First, you have some time to look at questions 1 to 7.
3
Now listen and answer questions 1 to 7.
4
Good afternoon, Emily.
5
Uh, yes, I see you completed your presentation on Project 4829.
6
Good afternoon, Professor.
7
Yes, that's right.
8
I hope you're pleased with the outcome.
9
If I may say so, I think you did exceptionally well.
10
The feedback from the panel shows you scored just above the base mark of 65.
11
Honestly, I'm relieved.
12
I admire Dr. Jonathan Keats' research, and I was determined to analyze his theories properly.
13
I had set myself a target of 80, but managing 75 felt like a wonderful achievement.
14
I have to admit, case studies on 19th century rural economics, like the one you explored, are often underestimated.
15
Most research departments prefer more modern statistical approaches.
16
Machine learning models and predictive software are the trend these days.
17
That's not really my interest.
18
My taste leans toward historical methods.
19
They connect better with the kind of archival work I enjoy.
20
Well, I hope you have space for all those resources you've been collecting.
21
Fortunately, I live near the Central University Library.
22
What are the exact requirements for storing the datasets, by the way?
23
The primary file size is 2.3 gigabytes, and the secondary archive is 1.2 gigabytes, without the additional visuals, that is.
24
If you include the scanned maps, which are fairly large to balance the written records, you'll need to add another 0.7 gigabytes for each data set.
25
That won't be a problem.
26
I'm just glad I managed to complete this challenging project.
27
Excellent.
28
Before you hear the rest of the conversation, you have some time to look at questions 7 to 10.
29
Now listen and answer questions 7 to 10.
30
Now, before we finish, I need to confirm a few details for the department's records. Of course.
31
Go ahead.
32
I recognized your face since you've attended my seminars before, but could you remind me of your full name?
33
Oh, yes.
34
It's Emily Carter Williams.
35
It's a hyphenated surname, so it's a make sure you add the dash in between the two names.
36
So that's C-A-R-T-E-R followed by a hyphen then W-I-L-L-I-A-M-S?
37
Correct.
38
And your contact address please.
39
It's Riverside Hall.
40
That's R-I-V-E-R-S-I-D-E.
41
and I live in Brookfield Town, the postcode you'll need is BL497QP.
42
Sorry, was that BN497QP?
43
No, it's BL, not an N, then 497QP.
44
Perfect.
45
I think that's everything.
46
Oh, and when would you like to submit the final hard copy of your thesis?
47
The office accepts submissions on Mondays and Thursdays, the week after assessments.
48
Well, I'm going away on a short trip to Cornwall this Thursday, so that won't work.
49
How about next Monday?
50
No problem at all.
51
So that will be the 14th of June.
52
Perfect.
53
Thank you, Professor.
54
Not at all, Emily.
55
It's been a pleasure supervising your work.
56
That is the end of part one.
57
You now have half a minute to check your answers to part one.
58
Part 2 You will hear a guide explaining galleries, facilities, and events at an art museum.
59
First, you have some time to look at questions 11 to 15.
60
Thank you.
61
A very good afternoon to you all, ladies and gentlemen.
62
I'm glad you've chosen to visit the prestigious Lisbon Museum of Art today, and I'll look forward to showing you around.
63
But first, I would just like you to refer to the maps of the museum
64
that you picked up on your way in.
65
Now, where you picked up your maps is just to the left as you enter the building, outside the museum store.
66
By the way, the store is a great place to pick up some souvenirs before you leave.
67
Oh, and if anyone wants to leave a coat in the cloakroom, then please feel free to do so at no extra charge.
68
It's just over there on the other side of the entrance to the museum store.
69
Okay, so this nice spacious area we're now standing in is the main hall.
70
It contains some of the museum's most striking sculptures.
71
From here you gain access to all the museum.
72
Leading off from the main hall are the Ufazi Gallery and our other large gallery that houses a permanent art collection.
73
We'll be starting our tour actually in the permanent collection gallery as it's the nearest of the two galleries to the entrance.
74
We'll make our way afterwards to the other gallery I mentioned as it's right next door.
75
Oh, the smaller room behind the Ufazi Gallery
76
that you see on your maps is just a storage space for the museum
77
and access is blocked off to the public by a railing across the entrance to that area.
78
So now where were we?
79
Ah, yes.
80
After we visited those galleries, which will take us a good hour as there are so many interesting exhibits to see,
81
we'll make our way back across the main hall and visit the Cowell Room.
82
It's right at the far end of the museum, on the opposite side of the main hall, to the Ufazi and Permanent Collection Galleries.
83
It's one of the museum highlights and contains some high-quality contemporary art exhibits.
84
Oh, I'm so sorry, I forgot to point out the ladies and gents' toilets earlier.
85
They're just before you get to the cowl room and are adjacent to the museum store.
86
Don't go into the room opposite the toilets, that's our staff room area and kitchen.
87
Right, so that's all you need to know for the moment.
88
Let's begin the tour.
89
Before you hear the rest of the conversation, you have some time to look at questions 16 to 20.
90
Now listen and answer questions 16 to 20.
91
Well, I hope you all found the tour interesting.
92
If any of you would like to become a patron of the museum, you can request information from the museum store.
93
Being a patron entitles you to special discounts on visiting exhibitions and first refusal on tickets to special events.
94
You will also be the first to know about our museum events as you are automatically placed on the museum's mailing list.
95
You can choose to become a gold, silver, or bronze patron of the museum.
96
patrons are also permitted free entry for one accompanying guest.
97
However, all patrons can receive year-round benefits that are not enjoyed by non-patrons.
98
Having said all that, I would now like to announce some very special news.
99
Next year will be our centenary celebrations.
100
It's hard to believe it, but the museum was founded over 100 years ago.
101
Accordingly, we will be seeing in the new year in style with a special Masked Ball.
102
This has been organized in response to a special request from some of our patrons.
103
Plans have yet to be finalized for this one-off event, but a themed Masked Ball has been suggested,
104
the idea being that guests come in the guise of famous artists, past or present.
105
One exciting event that has been confirmed is the Summer Garden Party.
106
We are anticipating a lot of interest for this one, so it's best to book well in advance.
107
Whilst the tickets are by no means cheap, we like to think that the price reflects the quality of the event.
108
Amongst the many treats we have in store for you is a live orchestra playing in the museum's gardens, which are to the back of the main building.
109
It is weather permitting, of course.
110
Again, we are dependent on good weather in order for the barbecue to take place.
111
Alternatively, a sit-down meal will be provided in the cowl room.
112
Everything from the entertainment to the food is included in the ticket price, so there are no hidden extras.
113
Now, having given you a roundup of the highlights of next year's social events, let's go on to the artistic highlights of next month.
114
Coming up shortly is Ewan Bailey's newest installation, Light and Sound Waves.
115
Always thought-provoking, his previous installations have been very well received.
116
We will also have Hamish Barnes here for the first time as artist-in-residence.
117
He will be encouraging visitors to adopt a more hands-on approach to art.
118
Finally, last but not least, we will be exhibiting the work of Cien Long, who will be making his artistic debut.
119
His work will be on show in the Ufazi Gallery over the summer period.
120
We are anticipating a large attendance at his exhibition.
121
Well, that's all from me.
122
I look forward to seeing you at one or maybe all of our events.
123
It's certainly going to be an action-packed year for the museum, both culturally and socially.
124
That is the end of part two.
125
You now have half a minute to check your answers to part 2.
126
Part 3 You will hear an art reviewer answering questions from several audience members.
127
First, you have some time to look at questions 21 to 25.
128
Thank you.
129
Now listen and answer questions 21 to 25.
130
I think I've spoken enough for now, so it's time to hear from the audience.
131
Would anyone like to begin and share a thought about what I said earlier?
132
Ah, yes, the young man over there.
133
Hello, my name's Ryan, and I've got a question.
134
You described folk art as being the work of people who haven't had formal training at art schools.
135
Does that mean that literally anyone could create art?
136
Well, what counts as art is always going to be subjective.
137
But if we accept some general agreement on what can reasonably be called art, then yes, in principle, anyone could create it.
138
The real challenge is whether they can produce remarkable art.
139
Excuse me, may I ask a question as well?
140
Yes, of course.
141
Would you like to introduce yourself to everyone first?
142
Sure.
143
My name is Sophia.
144
All right, Sophia.
145
What would you like to ask?
146
Don't you think that self-taught artists lack the proper technique to make truly great work?
147
Honestly, I thought some of the drawings by those so-called folk artists you showed us looked quite rough.
148
I believe you're mixing up the idea of technique with the idea of art itself.
149
Strong technical ability doesn't necessarily equal strong art.
150
Sometimes remarkable pieces come from talented people who don't possess what we would normally think of as professional skills.
151
Okay, who's next with the question?
152
Hello, I've got one.
153
Oh, my name's Daniel, by the way.
154
I just wanted to ask how many folk artists were actually recognized during their lifetimes?
155
Only a small number.
156
The exceptions are the ones who created truly extraordinary pieces, such as Simon Rodia's Towers in California, or Antonio Gaudí's famous structure,
157
the Sagrada Familia in Spain.
158
Both were built using unconventional methods and recycled objects.
159
Yeah, they were incredible.
160
I remember those from the pictures you showed earlier.
161
But what fascinates people most isn't just the size of these works, but the devotion behind them.
162
Both were built almost entirely by one person over decades, often without official approval or permits.
163
That secrecy adds to the mystery and romance of the whole story, don't you agree?
164
Well, their dedication definitely impressed me.
165
Yes.
166
Folk art often results in creations that are completely unique.
167
Before you hear the rest of the conversation, you have some time to look at questions 26 to 30.
168
Now listen and answer questions 26 to 30.
169
So, now I'd like to ask you some questions.
170
Out of all the folk artworks I showed earlier, which one did you find the most striking and why?
171
May I answer that?
172
Yes.
173
Hello again, Ryan.
174
Which piece was your favorite?
175
Oddly enough, the illustrations by Henry Darger, the perspective is strange and inconsistent, but the detail is astonishing.
176
Well, if you look at celebrated artists like Van Gogh and Cezanne, perspective wasn't their main concern either.
177
Strangely, I can appreciate that style when it comes to folk art, but I don't feel the same about contemporary art.
178
Maybe it's because I don't view the two styles with the same expectations.
179
Interesting.
180
You mean you expect more from trained professional artists like Van Gogh or Cezanne?
181
Yes, exactly.
182
I expect contemporary artists to at least use conventional tools like perspective,
183
while folk artists are widely honored.
184
I see your point.
185
Apart from folk art, I suppose you prefer more traditional painters?
186
I think so.
187
Like most people, I can appreciate the works of the Renaissance masters like Raphael and Botticelli.
188
Their techniques were brilliant.
189
And, of course, I can also understand the continuing popularity of the Impressionists.
190
One last question.
191
What about modern sculpture?
192
Do you view modern sculpture the same way you view modern painting?
193
I think sculpture requires skill no matter what.
194
Handling wood, metal, or stone is never easy.
195
But to be honest, I find that many modern sculptures in public spaces get more admiration than they really deserve.
196
Hmm.
197
You certainly have clear opinions about art.
198
Well, it was most interesting hearing your perspective.
199
That is the end of part three.
200
You now have half a minute to check your answers to part three.
201
Part 4.
202
You will hear a lecture exploring how animals produce paintings and sculptures.
203
First, you have some time to look at questions 31 to 40.
204
Now listen and answer questions 31 to 40.
205
I've just shown you a series of slides featuring a surprisingly wide variety of paintings.
206
As I was presenting them, I noticed a few chuckles among you, and even some puzzled looks.
207
Perhaps calling today's lecture Unexpected Masters of Creativity was a little misleading.
208
Although the brushwork seemed clumsy-looking, the artworks are still impressive considering who created them.
209
Well, let me surprise you further.
210
What I'm about to reveal should make the title much clearer.
211
All those artworks you just saw were created by, wait for it, animals.
212
Yes, I can hear a few murmurs of disbelief now.
213
Of course, when compared to human standards, these paintings appear basic.
214
But when you remember that they were made by animals, the results are nothing short of extraordinary.
215
And it wasn't only our closest relatives like monkeys who produced them.
216
The artworks came from an astonishing range of creatures like dolphins, parrots, and even anteaters.
217
In fact, not long ago,
218
the Manchester Natural History Gallery held what was thought to be the very first exhibition of paintings created by different species.
219
This event included contributions from a chimpanzee, an orangutan, and a dolphin.
220
While the ape paintings resembled the energetic style of abstract artists such as Paula Ginrothko,
221
the Dolphins piece showed a more representational form depicting a fishbowl.
222
Now, before anyone here assumes this is some groundbreaking discovery, I want to clarify a few things.
223
The idea that animals can contribute to the artistic world was already being explored as early as the 1960s.
224
During that period, a renowned anthropologist named Margaret Linton,
225
who also wrote bestsellers like Mind Watching and The Human Animal,
226
introduced the British public to Sally and painting Orangutan in a popular television program.
227
At that time, these animal creations were dismissed as amusing oddities.
228
Today, though, animal-made artworks are regarded far more seriously,
229
as many of these creatures display a natural talent and employ their senses in ways quite different from human artists.
230
Because of this recognition, it is now fairly standard for wildlife parks and aquariums to provide artistic outlets for their residents.
231
The goal is not only to enrich the lives of the animals, but also to stimulate them physically and mentally.
232
Clearly, you cannot simply hand a snake a paintbrush and expect it to produce a masterpiece.
233
Instead, caretakers supply materials appropriate to each species.
234
For instance, anteaters, which naturally feed by using their long tongues to search through soil for ants,
235
have been given narrow tubes to blow paint across canvases, mimicking their feeding behavior.
236
One of the most intriguing outcomes of this practice is the discovery that many animals willingly and spontaneously engage in making art.
237
It appears they experience enjoyment, much like humans do, when applying colors to paper or shaping clay.
238
This suggests there are far more commonalities between people and other animals than some critics might prefer to acknowledge.
239
Yet, for those of you who remain doubtful, let me add a word of caution.
240
Some Some examples of elephant and ape paintings have shown striking similarities to contemporary Western art.
241
In fact, the stylistic elements suggest there might have been a degree of human influence.
242
A famous case involved an elephant called Dara, whose keeper actually guided her trunk as she made brushstrokes on a canvas.
243
However, when examining animal art, skeptics should have a fair perspective.
244
That is the end of part 4.
245
Thank you.
✨ วิดีโอแนะนำ
B21
330 ประโยค
CELPIP Listening Mock Test 2026: Full Practice with Answers & Score Tips | CLB 9+
IELTS PrepTOEFL PrepUniversity Students
B21
86 ประโยค
What is the topic of the research?: IELTS LISTENING Vol 5 Test 8 Section 3
IELTS PrepTOEFL PrepUniversity Students
B22
79 ประโยค
In her Home Country | IELTS LISTENING TEST | SECTION-3
IELTS PrepTOEFL PrepUniversity Students
B21
309 ประโยค
IELTS Listening 2023 with Answers | IDP & British Council Exam
IELTS PrepCambridge Exam PrepUniversity Students
C12
84 ประโยค
Kathy's dissertation on water pumps: IELTS LISTENING Vol 5 Test 6 Section 3
IELTS PrepTOEFL PrepUniversity Students
B24
303 ประโยค
IELTS LISTENING PRACTICE TEST 2026 WITH ANSWERS | 03.09.2026
IELTS PrepTOEFL PrepUniversity Students
B22
79 ประโยค
IELTS Listening Section-3(Paper on Public Libraries) with answers
IELTS PrepTOEFL PrepUniversity Students
B21
279 ประโยค
Cambridge 20 listening test 02|Full clear audio with answer key|Comment your score...🌸
IELTS PrepCambridge Exam PrepUniversity Students
B21
665 ประโยค
Complete IELTS Bands 5 6 5 Workbook Mark Harrison
IELTS PrepCambridge Exam PrepUniversity Students
B21
52 ประโยค
IELTS Speaking Sample Answers (Ep. 2) | Realistic Practice Responses for Part 1, 2 & 3
IELTS PrepCambridge Exam PrepUniversity Students
B21
84 ประโยค
Vol 1 - test 3 - section 3
IELTS PrepTOEFL PrepUniversity Students
B23
79 ประโยค
The Official Cambridge Guide to IELTS unit 6 attitude and opinion
IELTS PrepCambridge Exam PrepUniversity Students
ทำไมต้องฝึกพูดกับวิดีโอนี้?
การฝึกพูดภาษาอังกฤษเป็นสิ่งสำคัญสำหรับผู้เรียนที่จะพัฒนาทักษะการสื่อสารของตนเอง ในวิดีโอนี้ เราจะได้ยินการสนทนาระหว่างนักเรียนและอาจารย์เกี่ยวกับโครงการวิจัยและการส่งวิทยานิพนธ์ ซึ่งจะช่วยให้เราสามารถเข้าใจบริบทการสื่อสารในสถานการณ์จริง การดูวิดีโอนี้จะช่วยให้คุณได้เรียนรู้วิธีการแสดงความคิดเห็น การเสนอแนวคิด และการถามคำถามอย่างมีประสิทธิภาพ การฝึกพูดจะช่วยปรับปรุงความมั่นใจและความคล่องแคล่วในการใช้ภาษาอังกฤษได้อย่างมาก
ไวยากรณ์และสำนวนในบริบท
ในบทสนทนานี้มีโครงสร้างไวยากรณ์และสำนวนที่น่าสนใจหลายอย่างที่สามารถนำไปใช้ในชีวิตประจำวันได้:
- การใช้ "I think" และ "I hope": เป็นวิธีที่ดีในการแสดงความคิดเห็นและแสดงความคาดหวัง
- การถามคำถามเพื่อขอข้อมูลเพิ่มเติม: เช่น "Could you remind me of your full name?" ซึ่งช่วยในการสื่อสารที่ชัดเจน
- การใช้ "I managed to": แสดงถึงความสำเร็จในการทำสิ่งใดสิ่งหนึ่ง
- การใช้ "What are the exact requirements": เป็นการขอรายละเอียดที่ชัดเจน ทำให้การสื่อสารมีประสิทธิภาพมากขึ้น
กับดักการออกเสียงที่พบบ่อย
ในบทสนทนานี้มีคำและสำเนียงที่อาจทำให้ผู้เรียนรู้สึกยากในการออกเสียง ตัวอย่างเช่น:
- "Carter" และ "Williams": คำเหล่านี้มีการออกเสียงที่ต้องระวัง โดยเฉพาะการใช้ hyphen ใน "Carter-Williams"
- "Riverside": คำนี้ควรออกเสียงให้ชัดเจนเพื่อป้องกันความสับสนในการสื่อสาร
- สำเนียงอังกฤษ: ผู้เรียนควรฟังและฝึกฝนการออกเสียงตามสำเนียงเพื่อให้เกิดความชำนาญ
การฝึกพูดโดยใช้เทคนิค shadowing จะช่วยให้คุณสามารถปรับปรุงการออกเสียงภาษาอังกฤษได้อย่างมีประสิทธิภาพ ในเว็บไซต์ shadowing site คุณสามารถค้นหาวิดีโอและเสียงที่มีคุณภาพเพื่อฝึกฝนการออกเสียงและการพูดของคุณได้ทุกวัน
ดังนั้น อย่าลืมใช้การฝึกพูดภาษาอังกฤษในชีวิตประจำวันของคุณเพื่อให้คุณสามารถพัฒนาทักษะการสื่อสารได้ดียิ่งขึ้น!
ไวยากรณ์ในวิดีโอนี้
โครงสร้างที่ผู้พูดใช้บ่อยที่สุด พร้อมคำพูดจริงจากวิดีโอ:
| โครงสร้าง | ในวิดีโอ |
|---|---|
| Present perfect have/has + กริยาช่อง 3 — เหตุการณ์ในอดีตที่ยังเกี่ยวข้องกับปัจจุบัน | you've attended · you've chosen · has been organized |
| Passive voice be + กริยาช่อง 3 — เน้นสิ่งที่เกิดขึ้น ไม่ใช่ผู้กระทำ | was determined · are often underestimated · is blocked |
| Relative clauses who / which + อนุประโยค — ข้อมูลเพิ่มเติมเกี่ยวกับคนหรือสิ่งของ | maps, which are · galleries, which will · gardens, which are |
เทคนิค Shadowing คืออะไร?
Shadowing เป็นเทคนิคการเรียนรู้ภาษาที่ได้รับการรับรองทางวิทยาศาสตร์ พัฒนาขึ้นสำหรับการฝึกนักแปลมืออาชีพ วิธีการนี้เรียบง่ายแต่ทรงพลัง: คุณฟังเสียงภาษาอังกฤษจากเจ้าของภาษาและพูดตามทันที — เหมือนเงาที่ตามผู้พูดด้วยช่วงเวลาห่าง 1-2 วินาที การวิจัยแสดงว่าเทคนิคนี้ปรับปรุงความแม่นยำในการออกเสียง ทำนองเสียง จังหวะ การเชื่อมเสียง การฟังเข้าใจ และความคล่องแคล่วในการพูดได้อย่างมีนัยสำคัญ