跟讀練習: Which TWO points did students most frequently make about their musical background before PART 3 - 通過影片學習英語口語

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75 句
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Part 3.
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You will hear two music students discussing the results of a survey they have done.
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First, you have some time to look at questions 21 to 26.
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Now listen carefully and answer questions 21 to 26.
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So, Gareth, we need to organise the findings from our survey or music students for the final presentation.
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Yes, Lorna.
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I think we've got some very interesting results.
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Obviously, we need to start by saying
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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.
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And then we should talk about the students' musical backgrounds before coming to university.
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The most important points to make are
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that although most people have actually composed music during the course
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that wasn't the case when they arrived
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and the other thing they had in common was the piano
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well they'd had access to a piano at some point
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but not all had studied it formally i thought the most interesting finding was
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that before coming here almost everyone was involved in a chamber orchestra
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or band or singing in a choir and playing in front of live audiences but varying enormously in size.
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Some had only played in tiny venues.
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I think it's worth saying that.
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OK.
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And as you might expect from people wanting to study music, they all had a degree of proficiency in at least two instruments.
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But in most cases, one of the instruments was dominant.
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Right.
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We need to talk about attitudes to music practice.
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The most striking thing here is
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that even students who you'd expect to practice for hours every
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day until they get it perfect say it's being terrified of failing that really makes them practice.
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I know I'm the same.
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Me too.
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It's interesting what was said about practicing alone.
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Some people preferred that because they could focus more on their weak points.
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But that wasn't a majority view.
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What most of them agree on is that there's nothing more rewarding than mastering something that's really hard to learn.
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That's right.
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OK, after that we should talk a bit about the pieces that students select for assessed performances.
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There wasn't quite so much consensus on this, was there?
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A few people prefer to do pieces which are relatively unknown, while others choose the ones they think will show off their technical ability.
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But they were in the minority.
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I think the first thing to say is
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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.
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OK.
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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
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before you hear the rest of the discussion 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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So finally, we need to look at the findings for students' attitudes to performing.
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We should point out that this includes informal and formal public performances, as well as assessed ones.
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Yes, that's important.
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I expected to find that performing solo would make students very nervous, but in fact that isn't the case.
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They do find it hugely challenging to start with, but they appreciate the challenge and find it stimulating.
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Right.
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I was surprised by what students said about deciding which pieces to perform.
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I thought they'd all say this was easy.
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For me, it's always been quite straightforward.
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Which pieces do I like best?
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And which pieces can I play well?
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And my repertoire is quite limited anyway.
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But the most commonly cited answer was that it took them ages to make their minds up.
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I suppose it's because there are so many factors involved.
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You need to consider your audience, the venue, the time available to learn the piece, especially if it's complicated.
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You need to think about all these things, and you can't do that in a hurry.
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That's true.
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Then there's performing with musicians from a different genre, like a classical musician playing with a jazz group.
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That can really be fun.
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But most of the music students had never even considered it.
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Right.
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For performing with musicians who play the same instrument, almost everyone put the same thing.
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Yes, they all said it was incredibly helpful, and not at all intimidating, which says a lot for the department's ethos.
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Yes, that's a good point.
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Okay, what I think we should sort out now...
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Thank you.
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Thank you.
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Thank you.
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Thank you.
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Thank you.

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這個片段的口語練習目標

這段關於音樂學生調查的對話非常適合雅思口語練習！它能幫你突破“描述調查結果”的 fluency 瓶頸——如何清晰羅列資料、表達觀點，同時保持自然的對話節奏。無論是考試還是日常交流，這種“有條理地分享資訊”的能力都超實用，跟著練能快速提升口語邏輯性哦！

實用表達庫

  • “the most important points to make are that...”（最重要的幾點是……）——用於總結核心發現，適合雅思口語Part 3展開論述。
  • “it's worth saying that...”（值得一提的是……）——自然引出有趣細節，讓回答更生動。
  • “the most striking thing here is that...”（最引人注目的是……）——強調關鍵結論，增強表達力度。
  • “there's nothing more rewarding than...”（沒有什麼比……更有成就感）——抒發個人感受，豐富口語情感。

攻克你的薄弱點

很多同學說英語時容易“卡殼”，尤其是在列舉資訊時。這個影片的對話節奏適中，非常適合用shadow speak（影子跟讀法）練習！跟著Gareth和Lorna的對話，模仿他們的連讀和重音（比如“assessed performances”的弱讀），能有效提升口語流暢度。建議用shadowing site反覆跟讀，或者直接用YouTube的“慢速播放”功能，逐句模仿。看YouTube學英語就是這麼高效，每天10分鐘，一週就能明顯感受到進步！

記住，口語提升貴在堅持。用這些實用表達和影子跟讀法，結合雅思口語練習，你一定能說出更自信、更地道的英語！

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have done · have actually composed · it's always been
被動語態 be + 過去分詞 — 強調發生了什麼，而不是誰做的was involved · was said
定語從句 who / which + 從句 — 補充說明人或事物students who you · pieces 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 →