跟讀練習: British Council - IELTS Listening Practice Test - 通過影片學習英語口語

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Part 1 You will hear a student discussing her research project and final thesis submission with her tutor.

First, you have some time to look at questions 1 to 7.

Now listen and answer questions 1 to 7.

Good afternoon, Emily.

Uh, yes, I see you completed your presentation on Project 4829.

Good afternoon, Professor.

Yes, that's right.

I hope you're pleased with the outcome.

If I may say so, I think you did exceptionally well.

The feedback from the panel shows you scored just above the base mark of 65.

Honestly, I'm relieved.

I admire Dr. Jonathan Keats' research, and I was determined to analyze his theories properly.

I had set myself a target of 80, but managing 75 felt like a wonderful achievement.

I have to admit, case studies on 19th century rural economics, like the one you explored, are often underestimated.

Most research departments prefer more modern statistical approaches.

Machine learning models and predictive software are the trend these days.

That's not really my interest.

My taste leans toward historical methods.

They connect better with the kind of archival work I enjoy.

Well, I hope you have space for all those resources you've been collecting.

Fortunately, I live near the Central University Library.

What are the exact requirements for storing the datasets, by the way?

The primary file size is 2.3 gigabytes, and the secondary archive is 1.2 gigabytes, without the additional visuals, that is.

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.

That won't be a problem.

I'm just glad I managed to complete this challenging project.

Excellent.

Before you hear the rest of the conversation, you have some time to look at questions 7 to 10.

Now listen and answer questions 7 to 10.

Now, before we finish, I need to confirm a few details for the department's records. Of course.

Go ahead.

I recognized your face since you've attended my seminars before, but could you remind me of your full name?

Oh, yes.

It's Emily Carter Williams.

It's a hyphenated surname, so it's a make sure you add the dash in between the two names.

So that's C-A-R-T-E-R followed by a hyphen then W-I-L-L-I-A-M-S?

Correct.

And your contact address please.

It's Riverside Hall.

That's R-I-V-E-R-S-I-D-E.

and I live in Brookfield Town, the postcode you'll need is BL497QP.

Sorry, was that BN497QP?

No, it's BL, not an N, then 497QP.

Perfect.

I think that's everything.

Oh, and when would you like to submit the final hard copy of your thesis?

The office accepts submissions on Mondays and Thursdays, the week after assessments.

Well, I'm going away on a short trip to Cornwall this Thursday, so that won't work.

How about next Monday?

No problem at all.

So that will be the 14th of June.

Perfect.

Thank you, Professor.

Not at all, Emily.

It's been a pleasure supervising your work.

That is the end of part one.

You now have half a minute to check your answers to part one.

Part 2 You will hear a guide explaining galleries, facilities, and events at an art museum.

First, you have some time to look at questions 11 to 15.

Thank you.

A very good afternoon to you all, ladies and gentlemen.

I'm glad you've chosen to visit the prestigious Lisbon Museum of Art today, and I'll look forward to showing you around.

But first, I would just like you to refer to the maps of the museum

that you picked up on your way in.

Now, where you picked up your maps is just to the left as you enter the building, outside the museum store.

By the way, the store is a great place to pick up some souvenirs before you leave.

Oh, and if anyone wants to leave a coat in the cloakroom, then please feel free to do so at no extra charge.

It's just over there on the other side of the entrance to the museum store.

Okay, so this nice spacious area we're now standing in is the main hall.

It contains some of the museum's most striking sculptures.

From here you gain access to all the museum.

Leading off from the main hall are the Ufazi Gallery and our other large gallery that houses a permanent art collection.

We'll be starting our tour actually in the permanent collection gallery as it's the nearest of the two galleries to the entrance.

We'll make our way afterwards to the other gallery I mentioned as it's right next door.

Oh, the smaller room behind the Ufazi Gallery

that you see on your maps is just a storage space for the museum

and access is blocked off to the public by a railing across the entrance to that area.

So now where were we?

Ah, yes.

After we visited those galleries, which will take us a good hour as there are so many interesting exhibits to see,

we'll make our way back across the main hall and visit the Cowell Room.

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.

It's one of the museum highlights and contains some high-quality contemporary art exhibits.

Oh, I'm so sorry, I forgot to point out the ladies and gents' toilets earlier.

They're just before you get to the cowl room and are adjacent to the museum store.

Don't go into the room opposite the toilets, that's our staff room area and kitchen.

Right, so that's all you need to know for the moment.

Let's begin the tour.

Before you hear the rest of the conversation, you have some time to look at questions 16 to 20.

Now listen and answer questions 16 to 20.

Well, I hope you all found the tour interesting.

If any of you would like to become a patron of the museum, you can request information from the museum store.

Being a patron entitles you to special discounts on visiting exhibitions and first refusal on tickets to special events.

You will also be the first to know about our museum events as you are automatically placed on the museum's mailing list.

You can choose to become a gold, silver, or bronze patron of the museum.

patrons are also permitted free entry for one accompanying guest.

However, all patrons can receive year-round benefits that are not enjoyed by non-patrons.

Having said all that, I would now like to announce some very special news.

Next year will be our centenary celebrations.

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It's hard to believe it, but the museum was founded over 100 years ago.

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Accordingly, we will be seeing in the new year in style with a special Masked Ball.

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This has been organized in response to a special request from some of our patrons.

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Plans have yet to be finalized for this one-off event, but a themed Masked Ball has been suggested,

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the idea being that guests come in the guise of famous artists, past or present.

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One exciting event that has been confirmed is the Summer Garden Party.

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We are anticipating a lot of interest for this one, so it's best to book well in advance.

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Whilst the tickets are by no means cheap, we like to think that the price reflects the quality of the event.

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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.

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It is weather permitting, of course.

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Again, we are dependent on good weather in order for the barbecue to take place.

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Alternatively, a sit-down meal will be provided in the cowl room.

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Everything from the entertainment to the food is included in the ticket price, so there are no hidden extras.

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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.

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Coming up shortly is Ewan Bailey's newest installation, Light and Sound Waves.

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Always thought-provoking, his previous installations have been very well received.

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We will also have Hamish Barnes here for the first time as artist-in-residence.

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He will be encouraging visitors to adopt a more hands-on approach to art.

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Finally, last but not least, we will be exhibiting the work of Cien Long, who will be making his artistic debut.

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His work will be on show in the Ufazi Gallery over the summer period.

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We are anticipating a large attendance at his exhibition.

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Well, that's all from me.

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I look forward to seeing you at one or maybe all of our events.

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It's certainly going to be an action-packed year for the museum, both culturally and socially.

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That is the end of part two.

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You now have half a minute to check your answers to part 2.

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Part 3 You will hear an art reviewer answering questions from several audience members.

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First, you have some time to look at questions 21 to 25.

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Thank you.

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Now listen and answer questions 21 to 25.

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I think I've spoken enough for now, so it's time to hear from the audience.

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Would anyone like to begin and share a thought about what I said earlier?

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Ah, yes, the young man over there.

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Hello, my name's Ryan, and I've got a question.

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You described folk art as being the work of people who haven't had formal training at art schools.

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Does that mean that literally anyone could create art?

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Well, what counts as art is always going to be subjective.

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But if we accept some general agreement on what can reasonably be called art, then yes, in principle, anyone could create it.

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The real challenge is whether they can produce remarkable art.

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Excuse me, may I ask a question as well?

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Yes, of course.

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Would you like to introduce yourself to everyone first?

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Sure.

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My name is Sophia.

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All right, Sophia.

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What would you like to ask?

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Don't you think that self-taught artists lack the proper technique to make truly great work?

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Honestly, I thought some of the drawings by those so-called folk artists you showed us looked quite rough.

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I believe you're mixing up the idea of technique with the idea of art itself.

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Strong technical ability doesn't necessarily equal strong art.

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Sometimes remarkable pieces come from talented people who don't possess what we would normally think of as professional skills.

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Okay, who's next with the question?

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Hello, I've got one.

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Oh, my name's Daniel, by the way.

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I just wanted to ask how many folk artists were actually recognized during their lifetimes?

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Only a small number.

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The exceptions are the ones who created truly extraordinary pieces, such as Simon Rodia's Towers in California, or Antonio Gaudí's famous structure,

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the Sagrada Familia in Spain.

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Both were built using unconventional methods and recycled objects.

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Yeah, they were incredible.

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I remember those from the pictures you showed earlier.

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But what fascinates people most isn't just the size of these works, but the devotion behind them.

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Both were built almost entirely by one person over decades, often without official approval or permits.

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That secrecy adds to the mystery and romance of the whole story, don't you agree?

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Well, their dedication definitely impressed me.

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Yes.

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Folk art often results in creations that are completely unique.

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Before you hear the rest of the conversation, you have some time to look at questions 26 to 30.

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Now listen and answer questions 26 to 30.

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So, now I'd like to ask you some questions.

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Out of all the folk artworks I showed earlier, which one did you find the most striking and why?

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May I answer that?

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Yes.

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Hello again, Ryan.

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Which piece was your favorite?

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Oddly enough, the illustrations by Henry Darger, the perspective is strange and inconsistent, but the detail is astonishing.

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Well, if you look at celebrated artists like Van Gogh and Cezanne, perspective wasn't their main concern either.

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Strangely, I can appreciate that style when it comes to folk art, but I don't feel the same about contemporary art.

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Maybe it's because I don't view the two styles with the same expectations.

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Interesting.

180

You mean you expect more from trained professional artists like Van Gogh or Cezanne?

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Yes, exactly.

182

I expect contemporary artists to at least use conventional tools like perspective,

183

while folk artists are widely honored.

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I see your point.

185

Apart from folk art, I suppose you prefer more traditional painters?

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I think so.

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Like most people, I can appreciate the works of the Renaissance masters like Raphael and Botticelli.

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Their techniques were brilliant.

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And, of course, I can also understand the continuing popularity of the Impressionists.

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One last question.

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What about modern sculpture?

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Do you view modern sculpture the same way you view modern painting?

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I think sculpture requires skill no matter what.

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Handling wood, metal, or stone is never easy.

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But to be honest, I find that many modern sculptures in public spaces get more admiration than they really deserve.

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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.

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Although the brushwork seemed clumsy-looking, the artworks are still impressive considering who created them.

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Well, let me surprise you further.

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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.

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Yes, I can hear a few murmurs of disbelief now.

213

Of course, when compared to human standards, these paintings appear basic.

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But when you remember that they were made by animals, the results are nothing short of extraordinary.

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And it wasn't only our closest relatives like monkeys who produced them.

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The artworks came from an astonishing range of creatures like dolphins, parrots, and even anteaters.

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In fact, not long ago,

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the Manchester Natural History Gallery held what was thought to be the very first exhibition of paintings created by different species.

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This event included contributions from a chimpanzee, an orangutan, and a dolphin.

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While the ape paintings resembled the energetic style of abstract artists such as Paula Ginrothko,

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the Dolphins piece showed a more representational form depicting a fishbowl.

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Now, before anyone here assumes this is some groundbreaking discovery, I want to clarify a few things.

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The idea that animals can contribute to the artistic world was already being explored as early as the 1960s.

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During that period, a renowned anthropologist named Margaret Linton,

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who also wrote bestsellers like Mind Watching and The Human Animal,

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introduced the British public to Sally and painting Orangutan in a popular television program.

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At that time, these animal creations were dismissed as amusing oddities.

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Today, though, animal-made artworks are regarded far more seriously,

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as many of these creatures display a natural talent and employ their senses in ways quite different from human artists.

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Because of this recognition, it is now fairly standard for wildlife parks and aquariums to provide artistic outlets for their residents.

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The goal is not only to enrich the lives of the animals, but also to stimulate them physically and mentally.

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Clearly, you cannot simply hand a snake a paintbrush and expect it to produce a masterpiece.

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Instead, caretakers supply materials appropriate to each species.

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For instance, anteaters, which naturally feed by using their long tongues to search through soil for ants,

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have been given narrow tubes to blow paint across canvases, mimicking their feeding behavior.

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One of the most intriguing outcomes of this practice is the discovery that many animals willingly and spontaneously engage in making art.

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It appears they experience enjoyment, much like humans do, when applying colors to paper or shaping clay.

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This suggests there are far more commonalities between people and other animals than some critics might prefer to acknowledge.

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Yet, for those of you who remain doubtful, let me add a word of caution.

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Some Some examples of elephant and ape paintings have shown striking similarities to contemporary Western art.

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In fact, the stylistic elements suggest there might have been a degree of human influence.

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A famous case involved an elephant called Dara, whose keeper actually guided her trunk as she made brushstrokes on a canvas.

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However, when examining animal art, skeptics should have a fair perspective.

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That is the end of part 4.

245

Thank you.

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流利口語所需的一切

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FOR YOU

本節課練習內容

本節課程通過分析雅思聽力模擬對話，幫助學習者提升聽力理解與口語表達能力。對話圍繞學生與導師討論研究專案、提交論文展開，涵蓋學術交流、個人資訊填寫、時間安排等實用場景，適合進行“shadowspeaks”訓練及雅思口語練習。

核心詞彙與短語

hyphenated surname：連字元姓氏（如文中的Carter-Williams）
archival work：檔案工作
hard copy：紙質版
postcode：郵政編碼
submission：提交（論文等）
panel：評審小組

影子跟讀法練習技巧

看YouTube學英語時，可利用本影片進行“shadow speak”訓練。影片對話語速適中，語調自然，符合雅思聽力場景。練習時：
1. 先完整聽一遍，熟悉內容；
2. 逐句暫停，模仿發音（如連字元姓氏的讀法）與語調；
3. 嘗試滯後1-2秒跟說，重點練習數字（如檔案大小2.3GB、郵政編碼BL497QP）和地址表達；
4. 關注連讀與弱讀（如“the outcome”“a short trip”）。堅持練習可提升英語口語流暢度，助力雅思口語備考。

通過影子跟讀法，結合實用場景詞彙，既能提升聽力理解，也能強化口語表達，是高效的英語口語練習方式。

影片中的語法

說話人最常用的結構，並附上影片中的原話：

結構	影片中的用法
現在完成時 have/has + 過去分詞 — 過去發生但與現在仍有關聯的事	you've attended · It's been · you've chosen
被動語態 be + 過去分詞 — 強調發生了什麼，而不是誰做的	are often underestimated · is blocked · are automatically placed
定語從句 who / which + 從句 — 補充說明人或事物	maps, which are · galleries, which will · gardens, which are

什麼是跟讀法？

跟讀法 (Shadowing) 是一種有科學依據的語言學習技巧，最初開發用於專業口譯員的培訓，並由多語言者Alexander Arguelles博士普及。這個方法簡單而強大：您在聽英語母語原聲的同時立即大聲重複——就像是一個延遲1-2秒緊跟說話者的影子。與被動聽力或語法練習不同，跟讀法強迫您的大腦和口腔肌肉同時處理並模模擬實的講話模式。研究表明它能顯著提高發音準確性，語調，節奏，連讀，聽力理解和口語流利度——使其成為雅思口語備考和真實英語交流最有效的方法之一。

影子跟讀法: 閱讀完整分步指南 →

跟讀練習: British Council - IELTS Listening Practice Test - 通過影片學習英語口語

選擇練習模式

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本節課練習內容

核心詞彙與短語

影子跟讀法練習技巧

影片中的語法

什麼是跟讀法？