跟读练习: Which TWO points did students most frequently make about their musical background before PART 3 - 通过视频学习英语口语

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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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这个片段的口语练习目标

这段关于音乐学生调查的对话非常适合雅思口语练习！它能帮你突破“描述调查结果”的 fluency 瓶颈——如何清晰罗列数据、表达观点，同时保持自然的对话节奏。无论是考试还是日常交流，这种“有条理地分享信息”的能力都超实用，跟着练能快速提升口语逻辑性哦！

实用表达库

  • “the most important points to make are that...”（最重要的几点是……）——用于总结核心发现，适合雅思口语Part 3展开论述。
  • “it's worth saying that...”（值得一提的是……）——自然引出有趣细节，让回答更生动。
  • “the most striking thing here is that...”（最引人注目的是……）——强调关键结论，增强表达力度。
  • “there's nothing more rewarding than...”（没有什么比……更有成就感）——抒发个人感受，丰富口语情感。

攻克你的薄弱点

很多同学说英语时容易“卡壳”，尤其是在列举信息时。这个视频的对话节奏适中，非常适合用shadow speak（影子跟读法）练习！跟着Gareth和Lorna的对话，模仿他们的连读和重音（比如“assessed performances”的弱读），能有效提升口语流畅度。建议用shadowing site反复跟读，或者直接用YouTube的“慢速播放”功能，逐句模仿。看YouTube学英语就是这么高效，每天10分钟，一周就能明显感受到进步！

记住，口语提升贵在坚持。用这些实用表达和影子跟读法，结合雅思口语练习，你一定能说出更自信、更地道的英语！

视频中的语法

说话人最常用的结构，并附上视频中的原话：

结构视频中的用法
现在完成时 have/has + 过去分词 — 过去发生但与现在仍有关联的事have done · have actually composed · it's always been
被动语态 be + 过去分词 — 强调发生了什么，而不是谁做的was involved · was said
定语从句 who / which + 从句 — 补充说明人或事物students who you · pieces which are

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。

影子跟读法: 阅读完整分步指南 →