Study On Psychology and Music劍橋雅思11聽力-原文翻譯及答案解析

一、Study On Psychology and Music 聽力原文：

SUPERVISOR:Hi, Joanna, good to meet you.

Now, before we discuss your new research project, I'd like to hear something about the psychology study you did last year for your Master's degree.

So how did you choose your subjects for that?

JOANNA:Well, I had six subjects, all professional musicians, and all female.

Three were violinists and there was also a cello player and a pianist and a flute player.

They were all very highly regarded in the music world and(Q21- 22) they'd done quite extensive tours in different continents, and quite a few had won prizes and competitions as well.

SUPERVISOR:And they were quite young, weren't they?

JOANNA:Yes, between 25 and 29 - the mean was 27. 8.

(Q21 - 22) I wasn't specifically looking for artists who'd produced recordings, but this is something that's just taken for granted these days, and they all had.

SUPERVISOR:Right.

Now you collected your data through telephone interviews, didn't you?

JOANNA:Yes.

(Q23 - 24) I realised if I was going to interview leading musicians it'd only be possible over the phone because they're so busy.

I recorded them using a telephone recording adaptor.

I'd been worried about the quality, but it worked out all right.

I managed at least a 30-minute interview with each subject, sometimes longer.

SUPERVISOR:Did doing it on the phone make it more stressful?

JOANNA:I'd thought it might ...

it was all quite informal though and in fact they seemed very keen to talk.

(Q23 -24) And I don't think using the phone meant I got less rich data, rather the opposite in fact.

SUPERVISOR:Interesting.

And you were looking at how performers dress for concert performances?

JOANNA:That's right.

My research investigated the way players see their role as a musician and how this is linked to the type of clothing they decide to wear.

But that focus didn't emerge immediately.(Q25 - 26) When I started I was more interested in trying to investigate the impact of what was worn on those listening, and also(Q25 - 26) whether someone like a violinist might adopt a different style of clothing from, say, someone playing the flute or the trumpet.

SUPERVISOR:It's interesting that the choice of dress is up to the individual, isn't it?

JOANNA:Yes, you'd expect there to be rules about it in orchestras, but that's quite rare.

SUPERVISOR:You only had women performers in your study.

Was that because male musicians are less worried about fashion?

JOANNA:I think a lot of the men are very much influenced by fashion, but in social terms the choices they have are more limited ...

they'd really upset audiences if they strayed away from quite narrow boundaries.

SUPERVISOR:Hmm.

Now, popular music has quite different expectations.

Did you read Mike Frost's article about the dress of women performers in popular music?

JOANNA:No.

SUPERVISOR:He points out that a lot of female singers and musicians in popular music tend to dress down in performances, and wear less feminine clothes, like jeans instead of skirts, and he suggests this is because otherwise they'd just be discounted as trivial.

JOANNA:But you could argue they're just wearing what's practical ...

I mean, a pop-music concert is usually a pretty energetic affair.

SUPERVISOR:Yes, he doesn't make that point, but I think you're probably right.

I was interested by the effect of the audience at a musical performance when it came to the choice of dress.

JOANNA:The subjects I interviewed felt this was really important.

It's all to do with what we understand by performance as a public event.

They believed the audience had certain expectations and it was up to them as performers to fulfil these expectations, to show a kind of esteem ...

SUPERVISOR:...they weren't afraid of looking as if they'd made an effort to look good.

JOANNA:Mmm.

I think in the past the audience would have had those expectations of one another too, but that's not really the case now, not in the UK anyway.

SUPERVISOR:No.

JOANNA:And I also got interested in what sports scientists are doing too, with regard to clothing.

SUPERVISOR:Musicians are quite vulnerable physically, aren't they, because the movements they carry out are very intensive and repetitive, so I'd imagine some features of sports clothing could safeguard the players from the Potentially dangerous effects of this sort of thing.

JOANNA:Yes, but musicians don't really consider it.

They avoid clothing that obviously restricts their movements, but that's as far as they go.

SUPERVISOR:Anyway, coming back to your own research, do you have any idea where you're going from here?

JOANNA:I was thinking of doing a study   using an audience, including ...

二、Study On Psychology and Music 聽力中文翻譯：

主管：嗨，喬安娜，很高興見到你

現(xiàn)在，在我們討論你的新研究項(xiàng)目之前，我想聽聽你去年攻讀碩士學(xué)位時(shí)所做的心理學(xué)研究

那么你是如何選擇你的研究對(duì)象的呢？

喬安娜：嗯，我有六門課，都是專業(yè)音樂家，都是女性

三位是小提琴家，還有一位大提琴手、一位鋼琴家和一位長笛手

他們?cè)谝魳方缍际艿搅烁叨仍u(píng)價(jià)，并且（Q21-22）他們?cè)诓煌拇笾捱M(jìn)行了相當(dāng)廣泛的巡演，還有相當(dāng)多的人贏得了獎(jiǎng)項(xiàng)和比賽

主管：他們還很年輕，不是嗎？

喬安娜：是的，25歲到29歲之間——平均27歲8.

（問題21-22）我并沒有特別尋找制作過唱片的藝術(shù)家，但這些天來這是理所當(dāng)然的，他們都有

主管：對(duì)

現(xiàn)在你是通過電話采訪收集數(shù)據(jù)的，對(duì)嗎？

喬安娜：是的

（問題23-24）我意識(shí)到，如果我要采訪頂尖音樂家，那只能通過電話，因?yàn)樗麄兲α?/p>

我用電話錄音適配器錄了下來

我一直擔(dān)心質(zhì)量問題，但結(jié)果很好

我對(duì)每個(gè)主題進(jìn)行了至少30分鐘的面試，有時(shí)甚至更長

主管：在電話里這樣做會(huì)使壓力更大嗎？

喬安娜：我想可能

雖然這一切都很非正式，但事實(shí)上，他們似乎非?？释徽?/p>

（問題23-24）我不認(rèn)為使用手機(jī)意味著我獲得的數(shù)據(jù)更少，事實(shí)恰恰相反

主管：有意思

你在看演員們?cè)谝魳窌?huì)上的著裝？

喬安娜：沒錯(cuò)

我的研究調(diào)查了球員們?nèi)绾慰创约鹤鳛橐魳芳业慕巧?，以及這與他們決定穿什么樣的衣服有關(guān)

但這種關(guān)注并沒有立即顯現(xiàn)出來（問題25-26）當(dāng)我開始學(xué)習(xí)時(shí)，我更感興趣的是調(diào)查人們的穿著對(duì)聽力的影響，以及（問題25-26）小提琴手之類的人是否會(huì)采用與長笛或小號(hào)演奏者不同的服裝風(fēng)格

主管：有趣的是，服裝的選擇取決于個(gè)人，不是嗎？

喬安娜：是的，你會(huì)期望管弦樂隊(duì)會(huì)有關(guān)于它的規(guī)定，但那是相當(dāng)罕見的

主管：你的研究中只有女性演員

這是因?yàn)槟行砸魳芳也惶珦?dān)心時(shí)尚嗎？

喬安娜：我認(rèn)為很多男人都深受時(shí)尚的影響，但從社會(huì)角度來看，他們的選擇更加有限

如果他們偏離了非常狹窄的界限，會(huì)讓觀眾非常不安

主管：嗯

現(xiàn)在，流行音樂有著完全不同的期望

你讀過邁克·弗羅斯特（MikeFrost）關(guān)于流行音樂中女演員著裝的文章嗎？

喬安娜：沒有

監(jiān)制：他指出，很多流行音樂中的女歌手和女音樂家在表演中往往會(huì)穿得很低調(diào)，穿得不那么女性化，比如牛仔褲而不是裙子，他建議這是因?yàn)榉駝t她們會(huì)被認(rèn)為是微不足道的

喬安娜：但你可以說他們只是穿著實(shí)用的衣服

我的意思是，流行音樂音樂會(huì)通常是一場充滿活力的活動(dòng)

主管：是的，他沒有指出這一點(diǎn)，但我認(rèn)為你可能是對(duì)的

當(dāng)談到服裝的選擇時(shí)，我對(duì)音樂表演中觀眾的影響很感興趣

喬安娜：我采訪的對(duì)象都覺得這很重要

這一切都與我們對(duì)公共活動(dòng)表演的理解有關(guān)

他們認(rèn)為觀眾有一定的期望，作為演員，他們應(yīng)該實(shí)現(xiàn)這些期望，表現(xiàn)出一種尊重

監(jiān)督人：他們并不害怕看起來像是在努力打扮自己

喬安娜：嗯

我認(rèn)為在過去，觀眾們也會(huì)對(duì)彼此抱有這樣的期望，但現(xiàn)在情況并非如此，在英國也不是這樣

主管：否

喬安娜：我也對(duì)體育科學(xué)家正在做的事情感興趣，關(guān)于服裝

主管：音樂家們的身體很脆弱，不是嗎？因?yàn)樗麄兯龅膭?dòng)作非常密集和重復(fù)，所以我想運(yùn)動(dòng)服的一些特點(diǎn)可以保護(hù)球員免受這種潛在的危險(xiǎn)影響

喬安娜：是的，但音樂家們并沒有真正考慮到這一點(diǎn)

他們避免穿著明顯限制他們行動(dòng)的衣服，但這是他們所能做的

主管：不管怎樣，回到你自己的研究，你知道你接下來要做什么嗎？

喬安娜：我在考慮用觀眾做一項(xiàng)研究，包括

三、Study On Psychology and Music 聽力問題：

Question 21-22

Choose TWO letters, A-E.

Which TWO characteristics were shared by the subjects of Joanna's psychology study?

A. They had all won prizes for their music.?

B. They had all made music recordings.?

C. They were all under 27 years old.

D. They had all toured internationally.

E. They all played a string instrument.

Question 23-24

Choose TWO letters, A-E.

Which TWO points does Joanna make about her use of telephone interviews?

A. It meant rich data could be collected.?

B. It allowed the involvement of top performers.

C. It led to a stressful atmosphere at times.

D. It meant interview times had to be limited.

E. It caused some technical problems.

Question 25-26

Choose TWO letters, A-E.

Which TWO topics did Joanna originally intend to investigate in her research?

A. regulations concerning concert dress?

B. audience reactions to the dress of performers?

C. changes in performer attitudes to concert dress

D. how choice of dress relates to performer roles

E. links between musical instrument and dress choice

Question 27-30

Choose the correct letter, A, B or C.

27.Joanna concentrated on women performers because

A. women are more influenced by fashion.

B. women's dress has led to more controversy.

C. women's code of dress is less strict than men's.?

28.Mike Frost's article suggests that in popular music, women's dress is affected by

A. their wish to be taken seriously.

B. their tendency to copy each other.

C. their reaction to the masculine nature of the music.

29.What did Joanna's subjects say about the audience at a performance?

A. The musicians' choice of clothing is linked to respect for the audience.

B. The clothing should not distract the audience from the music.

C. The audience should make the effort to dress appropriately.

30.According to the speakers, musicians could learn from sports scientists about?

A. the importance of clothing for physical freedom.

B. the part played by clothing in improving performance.

C. the way clothing may protect against physical injury.

四、Study On Psychology and Music 聽力答案：

21、B

22、D

23、A

24、B

25、B

26、E

27、C

28、A

29、A

30、C

五、Study On Psychology and Music 聽力答案解析

21-22. B D 根據(jù)題干中的subjects of Joanna’s psychology study定位錄音中首先提到they’d done quite extensive tours in different continents，相當(dāng)于D選項(xiàng)的They had all

toured internationally其中in indifferent continents與internationally為同義替換考生在做多項(xiàng)選擇題和單項(xiàng)選擇題時(shí)，都應(yīng)該把選擇與排除相結(jié)合，即聽到與某選項(xiàng)沖突的信息則

立刻將該選項(xiàng)劃掉本題錄音中，在D選項(xiàng)出現(xiàn)之前，當(dāng)考生聽到three were violinists（三位是小提琴家）…and a pianist（一位是鋼琴家）時(shí)，就應(yīng)該將E選項(xiàng)“They all played a

string instrument（他們都演奏弦樂）”劃掉，因?yàn)殇撉倏隙ú粚儆谙覙方酉聛?，在錄音中，這位女士先說I wasn’t specifically looking for artists who’d produced recordings（我并

沒有專門找那些出過專輯的藝術(shù)家），接下來她又說… and they all had，這里是一個(gè)省略，完整的句子應(yīng)該是… and they all had produced recordings，完全符合B選項(xiàng)同樣，在

聽到這個(gè)選項(xiàng)前，考生可以將C選項(xiàng)劃掉，因?yàn)殇浺糁姓fbetween 25 and 29，與C選項(xiàng)的“all under 27 years old”矛盾故確定答案為B, D

23-24. A B  根據(jù)題干中的telephone interviews定位錄音中提到I realized if I was going to interview leading musicians, it’d only be possible over the phone，對(duì)應(yīng)B選項(xiàng)It

allowed the involvement of top performers其中allow與be possible為同義替換詞；interview與involvement為同義替換詞；leading musicians與top performers為同義替換詞接下

來的錄音中，老師問到了電話采訪是否會(huì)覺得“stressful”，女生的回答是It was all quite informal though, and they seemed quite keen to talk…（它——這里指電話訪談——是很隨

意的，并且他們似乎都很熱衷于交談）”由此我們可以判斷女生并不認(rèn)為電話采訪是“stressful”，那么應(yīng)該立刻劃掉C選項(xiàng)在說完電話訪談是“informal”那句話后，這位女生緊接著又

說I don’t think using the phone meant I got less rich data, rather the opposite in fact…（我不認(rèn)為用電話使我獲得不足夠豐富的數(shù)據(jù)，事實(shí)正好相反），雙重否定（don’t和less）

肯于肯定，因此A 選項(xiàng)可以選出故確定答案為A, B

25-26. B E  根據(jù)題干的investigate in her research定位錄音中提到when I started, I was trying to investigate the impact of what was worn on those listening，B選項(xiàng)的audience

reactions to the dress of performers，其中those listening與audience為同義替換；what was worn與dress為同義替換要準(zhǔn)確定位到出題句，考生一定要注意題干中的“originally intend

to （起初打算）”，即正確答案一定要是這位女生一開始的想法，而不是后來的打算接下來錄音中提到… and also someone like a violinist would adopt different style of clothing from

…say, someone playing the flute or the trumpet，對(duì)應(yīng)E選項(xiàng)的links between musical instrument and dress choice，其中violinist/ flute/ trumpet對(duì)應(yīng)musical instrument；different

style of clothing與dress choice為同義替換故確定答案為B, E

27. C  根據(jù)題干中的women performers定位錄音中提到in social terms，the choices they have are more limited. They’d really upset

audience if they strayed away from narrow boundaries. （從社會(huì)角度而言，他們的選擇更有限他們?nèi)绻x了狹窄的邊界，他們真的會(huì)

令觀眾不快）”解讀出所謂的“narrow boundaries（狹窄邊界）”指的就是能被社會(huì)接受的男性服裝的狹小范圍，即社會(huì)對(duì)于男性的著裝規(guī)范

要求更為嚴(yán)格，于是推出女性的著裝限制小于男性，即C選項(xiàng)對(duì)于本題，考生首先要明白C選項(xiàng)的code of dress為“著裝規(guī)范”之意，即企

業(yè)、政府機(jī)關(guān)或整個(gè)社會(huì)對(duì)于個(gè)人衣著的書面或默認(rèn)的規(guī)范

28. A  根據(jù)題干中的Mike Frost’s article, women’s dress定位錄音中老師先說女性歌手…wear less feminine clothes （穿不那么女性化的

服裝），接下來又說Mike Frost認(rèn)為 “…this is because otherwise they’d just be discounted as trivial…（這是因?yàn)槿绻贿@樣做，她們會(huì)被

低估為無足輕重）”這說明女性并不希望被低估，即她們希望被重視，等于A選項(xiàng)的“taken seriously”

29. A 根據(jù)題干中的audience at a performance定位在錄音中，當(dāng)老師說到“effect of the audience at a musical performance… when it

came to the choice of dress（在音樂表演中觀眾的影響……就服裝選擇而言）”，考生應(yīng)該猜測這時(shí)錄音極有可能已進(jìn)入29題的范圍接下

來女生說她的受訪者認(rèn)為“audience has certain expectations and it was up to them as performers to fulfill these expectations, to show a

kind of esteem …（觀眾有特定的預(yù)期，應(yīng)該由表演者去滿足這些預(yù)期，去展示某種尊重）”即，她的受訪者認(rèn)為表演者服裝的選擇應(yīng)該滿

足觀眾對(duì)演員服裝的期待，尊重觀眾esteem與respect為同義替換 值得注意的是，本題的C選項(xiàng)是一個(gè)強(qiáng)干擾選項(xiàng)，因?yàn)楹芏嗫忌鷷?huì)聽

到“make an effort to look good”，并因此選擇C這個(gè)錯(cuò)誤選項(xiàng)此處需要再強(qiáng)調(diào)一下，雅思考官在設(shè)計(jì)錄音材料時(shí)，一個(gè)常見的手段就是刻

意讓考生聽到某個(gè)干擾選項(xiàng)的部分信息考生在做題時(shí)，一定要依據(jù)錄音中一句話的整體內(nèi)容，而不是個(gè)別詞匯短語來判斷本題中那位老

師的原話是“…they weren’t afraid of looking as if they’d made an effort to look good. （他們不怕看上去仿佛是刻意要好看）這句話中

的“they”指的是表演者，而不是C選項(xiàng)中的“audience”

30. C  根據(jù)題干中的sports scientists定位當(dāng)女生說到“…what sports scientists are doing…”，考生應(yīng)該判斷出錄音已經(jīng)進(jìn)入第30題的范

圍接下來，老師說“Musicians are quite vulnerable physically… I’d imagine some features of sports clothing could safeguard the

players from the potentially dangerous effects…（音樂家們?cè)谏眢w上很容易受傷……我會(huì)想象運(yùn)動(dòng)服裝的一些特質(zhì)可以保護(hù)表演者不受潛

在的危險(xiǎn)）”，這些話基本等于C選項(xiàng)的內(nèi)容其中safeguard與protect為同義替換；potentially dangerous effects與physical injury為同義替換

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