跟读练习: Joanna's psychology study | IELTS LISTENING TEST | SECTION-3 - 通过YouTube学习英语口语
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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背景与语境
在这段录音中，我们听到了一位名叫乔安娜的学生与她的新导师讨论她去年在心理学与音乐交叉领域的研究项目。乔安娜选择了六名专业女性音乐家作为研究对象，她们的年龄在25至29岁之间，都是在音乐界备受赞誉的艺术家。通过电话访谈，乔安娜收集了这些音乐家的观点，探讨了他们对音乐家角色的理解与所穿服装之间的联系。这为学员们提供了一个了解心理学与艺术表现之间关系的绝佳案例，同时也是进行英语口语练习的良机。
日常交流常用五句话
- 你好，乔安娜。很高兴见到你。 (Hello, Joanna. Good to meet you.)
- 我想听听你去年做的心理学研究。 (I would like to hear about the psychology study you did last year.)
- 你打算如何选择研究对象？ (How did you choose your subjects for that?)
- 这项研究的结果引人注目。 (The results of this research are quite interesting.)
- 他们的服装选择是个人的自由。 (The choice of dress is up to the individual.)
逐步影子跟读指导
为了有效地提高英语发音和口语能力，建议您采用以下英语影子跟读方法进行练习，尤其是在听完乔安娜的对话后：
- 预习内容：在正式练习之前，先阅读并理解乔安娜的研究背景和主要内容，确保您熟悉其中的脉络。
- 细听录音：全神贯注地听录音，注意乔安娜和她导师的对话节奏和语调。设法捕捉每一个微小的发音细节。
- 分句跟读：选择几段较短的句子进行重复练习。开始时可以慢速模仿，逐渐加快速度，以便更好地掌握语音韵律。
- 录音反馈：尝试用自己的声音将对话录下来并与原声录音进行比较，评估自己的发音是否清晰、流畅。
- 反复练习：定期回顾并反复进行该练习，这有助于加深记忆并提高英语口语练习的效果，同时增强自信心，确保能够在真实对话中灵活运用。
通过以上的训练，你将能够有效地提高自己的英语发音，并在多种场合中自信交流。使用影子跟读技巧，可以让你的听力和口语能力得以提升，成为更优秀的英语使用者。
什么是跟读法？
跟读法 (Shadowing) 是一种有科学依据的语言学习技巧，最初开发用于专业口译员的培训，并由多语言者Alexander Arguelles博士普及。这个方法简单而强大：您在听英语母语原声的同时立即大声重复——就像是一个延迟1-2秒紧跟说话者的影子。与被动听力或语法练习不同，跟读法强迫您的大脑和口腔肌肉同时处理并模仿真实的讲话模式。研究表明它能显着提高发音准确性，语调，节奏，连读，听力理解和口语流利度——使其成为雅思口语备考和真实英语交流最有效的方法之一。