Study On Psychology and Music剑桥雅思11听力-原文翻译及答案解析

一、Study On Psychology and Music 听力原文：

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 听力中文翻译：

主管：嗨，乔安娜，很高兴见到你

现在，在我们讨论你的新研究项目之前，我想听听你去年攻读硕士学位时所做的心理学研究

那么你是如何选择你的研究对象的呢？

乔安娜：嗯，我有六门课，都是专业音乐家，都是女性

三位是小提琴家，还有一位大提琴手、一位钢琴家和一位长笛手

他们在音乐界都受到了高度评价，并且（Q21-22）他们在不同的大洲进行了相当广泛的巡演，还有相当多的人赢得了奖项和比赛

主管：他们还很年轻，不是吗？

乔安娜：是的，25岁到29岁之间——平均27岁8.

（问题21-22）我并没有特别寻找制作过唱片的艺术家，但这些天来这是理所当然的，他们都有

主管：对

现在你是通过电话采访收集数据的，对吗？

乔安娜：是的

（问题23-24）我意识到，如果我要采访顶尖音乐家，那只能通过电话，因为他们太忙了

我用电话录音适配器录了下来

我一直担心质量问题，但结果很好

我对每个主题进行了至少30分钟的面试，有时甚至更长

主管：在电话里这样做会使压力更大吗？

乔安娜：我想可能

虽然这一切都很非正式，但事实上，他们似乎非常渴望交谈

（问题23-24）我不认为使用手机意味着我获得的数据更少，事实恰恰相反

主管：有意思

你在看演员们在音乐会上的着装？

乔安娜：没错

我的研究调查了球员们如何看待自己作为音乐家的角色，以及这与他们决定穿什么样的衣服有关

但这种关注并没有立即显现出来（问题25-26）当我开始学习时，我更感兴趣的是调查人们的穿着对听力的影响，以及（问题25-26）小提琴手之类的人是否会采用与长笛或小号演奏者不同的服装风格

主管：有趣的是，服装的选择取决于个人，不是吗？

乔安娜：是的，你会期望管弦乐队会有关于它的规定，但那是相当罕见的

主管：你的研究中只有女性演员

这是因为男性音乐家不太担心时尚吗？

乔安娜：我认为很多男人都深受时尚的影响，但从社会角度来看，他们的选择更加有限

如果他们偏离了非常狭窄的界限，会让观众非常不安

主管：嗯

现在，流行音乐有着完全不同的期望

你读过迈克·弗罗斯特（MikeFrost）关于流行音乐中女演员着装的文章吗？

乔安娜：没有

监制：他指出，很多流行音乐中的女歌手和女音乐家在表演中往往会穿得很低调，穿得不那么女性化，比如牛仔裤而不是裙子，他建议这是因为否则她们会被认为是微不足道的

乔安娜：但你可以说他们只是穿着实用的衣服

我的意思是，流行音乐音乐会通常是一场充满活力的活动

主管：是的，他没有指出这一点，但我认为你可能是对的

当谈到服装的选择时，我对音乐表演中观众的影响很感兴趣

乔安娜：我采访的对象都觉得这很重要

这一切都与我们对公共活动表演的理解有关

他们认为观众有一定的期望，作为演员，他们应该实现这些期望，表现出一种尊重

监督人：他们并不害怕看起来像是在努力打扮自己

乔安娜：嗯

我认为在过去，观众们也会对彼此抱有这样的期望，但现在情况并非如此，在英国也不是这样

主管：否

乔安娜：我也对体育科学家正在做的事情感兴趣，关于服装

主管：音乐家们的身体很脆弱，不是吗？因为他们所做的动作非常密集和重复，所以我想运动服的一些特点可以保护球员免受这种潜在的危险影响

乔安娜：是的，但音乐家们并没有真正考虑到这一点

他们避免穿着明显限制他们行动的衣服，但这是他们所能做的

主管：不管怎样，回到你自己的研究，你知道你接下来要做什么吗？

乔安娜：我在考虑用观众做一项研究，包括

三、Study On Psychology and Music 听力问题：

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 听力答案：

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 听力答案解析

21-22. B D 根据题干中的subjects of Joanna’s psychology study定位录音中首先提到they’d done quite extensive tours in different continents，相当于D选项的They had all

toured internationally其中in indifferent continents与internationally为同义替换考生在做多项选择题和单项选择题时，都应该把选择与排除相结合，即听到与某选项冲突的信息则

立刻将该选项划掉本题录音中，在D选项出现之前，当考生听到three were violinists（三位是小提琴家）…and a pianist（一位是钢琴家）时，就应该将E选项“They all played a

string instrument（他们都演奏弦乐）”划掉，因为钢琴肯定不属于弦乐接下来，在录音中，这位女士先说I wasn’t specifically looking for artists who’d produced recordings（我并

没有专门找那些出过专辑的艺术家），接下来她又说… and they all had，这里是一个省略，完整的句子应该是… and they all had produced recordings，完全符合B选项同样，在

听到这个选项前，考生可以将C选项划掉，因为录音中说between 25 and 29，与C选项的“all under 27 years old”矛盾故确定答案为B, D

23-24. A B  根据题干中的telephone interviews定位录音中提到I realized if I was going to interview leading musicians, it’d only be possible over the phone，对应B选项It

allowed the involvement of top performers其中allow与be possible为同义替换词；interview与involvement为同义替换词；leading musicians与top performers为同义替换词接下

来的录音中，老师问到了电话采访是否会觉得“stressful”，女生的回答是It was all quite informal though, and they seemed quite keen to talk…（它——这里指电话访谈——是很随

意的，并且他们似乎都很热衷于交谈）”由此我们可以判断女生并不认为电话采访是“stressful”，那么应该立刻划掉C选项在说完电话访谈是“informal”那句话后，这位女生紧接着又

说I don’t think using the phone meant I got less rich data, rather the opposite in fact…（我不认为用电话使我获得不足够丰富的数据，事实正好相反），双重否定（don’t和less）

肯于肯定，因此A 选项可以选出故确定答案为A, B

25-26. B E  根据题干的investigate in her research定位录音中提到when I started, I was trying to investigate the impact of what was worn on those listening，B选项的audience

reactions to the dress of performers，其中those listening与audience为同义替换；what was worn与dress为同义替换要准确定位到出题句，考生一定要注意题干中的“originally intend

to （起初打算）”，即正确答案一定要是这位女生一开始的想法，而不是后来的打算接下来录音中提到… and also someone like a violinist would adopt different style of clothing from

…say, someone playing the flute or the trumpet，对应E选项的links between musical instrument and dress choice，其中violinist/ flute/ trumpet对应musical instrument；different

style of clothing与dress choice为同义替换故确定答案为B, E

27. C  根据题干中的women performers定位录音中提到in social terms，the choices they have are more limited. They’d really upset

audience if they strayed away from narrow boundaries. （从社会角度而言，他们的选择更有限他们如果偏离了狭窄的边界，他们真的会

令观众不快）”解读出所谓的“narrow boundaries（狭窄边界）”指的就是能被社会接受的男性服装的狭小范围，即社会对于男性的着装规范

要求更为严格，于是推出女性的着装限制小于男性，即C选项对于本题，考生首先要明白C选项的code of dress为“着装规范”之意，即企

业、政府机关或整个社会对于个人衣着的书面或默认的规范

28. A  根据题干中的Mike Frost’s article, women’s dress定位录音中老师先说女性歌手…wear less feminine clothes （穿不那么女性化的

服装），接下来又说Mike Frost认为 “…this is because otherwise they’d just be discounted as trivial…（这是因为如果不这样做，她们会被

低估为无足轻重）”这说明女性并不希望被低估，即她们希望被重视，等于A选项的“taken seriously”

29. A 根据题干中的audience at a performance定位在录音中，当老师说到“effect of the audience at a musical performance… when it

came to the choice of dress（在音乐表演中观众的影响……就服装选择而言）”，考生应该猜测这时录音极有可能已进入29题的范围接下

来女生说她的受访者认为“audience has certain expectations and it was up to them as performers to fulfill these expectations, to show a

kind of esteem …（观众有特定的预期，应该由表演者去满足这些预期，去展示某种尊重）”即，她的受访者认为表演者服装的选择应该满

足观众对演员服装的期待，尊重观众esteem与respect为同义替换 值得注意的是，本题的C选项是一个强干扰选项，因为很多考生会听

到“make an effort to look good”，并因此选择C这个错误选项此处需要再强调一下，雅思考官在设计录音材料时，一个常见的手段就是刻

意让考生听到某个干扰选项的部分信息考生在做题时，一定要依据录音中一句话的整体内容，而不是个别词汇短语来判断本题中那位老

师的原话是“…they weren’t afraid of looking as if they’d made an effort to look good. （他们不怕看上去仿佛是刻意要好看）这句话中

的“they”指的是表演者，而不是C选项中的“audience”

30. C  根据题干中的sports scientists定位当女生说到“…what sports scientists are doing…”，考生应该判断出录音已经进入第30题的范

围接下来，老师说“Musicians are quite vulnerable physically… I’d imagine some features of sports clothing could safeguard the

players from the potentially dangerous effects…（音乐家们在身体上很容易受伤……我会想象运动服装的一些特质可以保护表演者不受潜

在的危险）”，这些话基本等于C选项的内容其中safeguard与protect为同义替换；potentially dangerous effects与physical injury为同义替换