Describe a friend of yours who is good at music/singing.
Notes
You should say:
Who he/she is
When/Where you listen to his/her music/singing
What kind of music/songs he/she is good at
And explain how you feel when listening to his music/singing
Well, the person I’d like to talk about is Tom, my lab mate and the pianist in our student band—somewhat nerdily called Vacuum States. We met in the computational physics seminar last year, and I often listen to him play in the practice rooms under the student union, and occasionally at charity concerts on campus.
He’s particularly good at impressionist piano—Debussy, Ravel—and, you know, light jazz arrangements of Chinese folk melodies. His touch is delicate but intentional, and his phrasing shows real aesthetic judgement and dynamic control. Sometimes he’ll improvise; other times his timing is almost metronomic, which I kind of admire.
When I’m stuck debugging a simulation, I’ll drop by, sit at the back, and just… listen. The sound is restorative. It almost resets my attentional bandwidth. Come to think of it, there’s a parallel with theory: the way he builds tension and release feels like setting boundary conditions and then letting an equation evolve.
How do I feel? Calm, focused, and oddly reassured. His playing reminds me that discipline and sensitivity can coexist. At the end of the day, I’m grateful, because his music doesn’t just entertain me; it stabilises my mood before deadlines and helps me return to work with renewed concentration.
Well, the person I’d like to talk about is Tom, my lab mate and the pianist in our student band—somewhat nerdily called Vacuum States.
/wel ðiː ˈpɜː.sən aɪd laɪk tuː tɔːk əˈbaʊt ɪz tɒm maɪ læb meɪt ænd ðiː ˈpɪə.nɪst ɪn ˈaʊə ˈstjuː.dənt bænd ˈsʌm.wɒt ˈnɜː.dɪ.li kɔːld ˈvæk.juː.əm steɪts/
We met in the computational physics seminar last year, and I often listen to him play in the practice rooms under the student union, and occasionally at charity concerts on campus.
/wiː met ɪn ðiː ˌkɒm.pjʊˈteɪ.ʃən.əl ˈfɪz.ɪks ˈsem.ɪ.nɑː lɑːst jɪə ænd aɪ ˈɒf.ən ˈlɪs.ən tuː hɪm pleɪ ɪn ðiː ˈpræk.tɪs ruːmz ˈʌn.də ðiː ˈstjuː.dənt ˈjuː.ni.ən ænd əˈkeɪ.ʒən.əl.i æt ˈtʃær.ɪ.ti ˈkɒn.səts ɒn ˈkæm.pəs/
He’s particularly good at impressionist piano—Debussy, Ravel—and, you know, light jazz arrangements of Chinese folk melodies.
/hiːz pəˈtɪk.jə.lə.li ɡʊd æt ɪmˈpreʃ.ən.ɪst piˈæn.əʊ dəˈbjuː.si rəˈvel ænd juː nəʊ laɪt dʒæz əˈreɪndʒ.mənts ɒv tʃaɪˈniːz fəʊk ˈmel.ə.diz/
His touch is delicate but intentional, and his phrasing shows real aesthetic judgement and dynamic control.
/hɪz tʌtʃ ɪz ˈdel.ɪ.kət bʌt ɪnˈten.ʃən.əl ænd hɪz ˈfreɪ.zɪŋ ʃəʊz rɪəl iːsˈθet.ɪk ˈdʒʌdʒ.mənt ænd daɪˈnæm.ɪk kənˈtrəʊl/
Sometimes he’ll improvise; other times his timing is almost metronomic, which I kind of admire.
/ˈsʌm.taɪmz hiːl ˈɪm.prə.vaɪz ˈʌð.ə taɪmz hɪz ˈtaɪ.mɪŋ ɪz ˈɔːl.məʊst ˌmet.rəˈnɒm.ɪk wɪtʃ aɪ kaɪnd ɒv ədˈmaɪə/
When I’m stuck debugging a simulation, I’ll drop by, sit at the back, and just… listen.
/wen aɪm stʌk ˌdiːˈbʌɡ.ɪŋ eɪ ˌsɪm.jʊˈleɪ.ʃən aɪl drɒp baɪ sɪt æt ðiː bæk ænd dʒʌst ˈlɪs.ən/
The sound is restorative.
/ðiː saʊnd ɪz rɪˈstɒr.ə.tɪv/
It almost resets my attentional bandwidth.
/ɪt ˈɔːl.məʊst ˌriːˈsets maɪ əˈten.ʃən.əl ˈbænd.wɪdθ/
Come to think of it, there’s a parallel with theory: the way he builds tension and release feels like setting boundary conditions and then letting an equation evolve.
/kʌm tuː θɪŋk ɒv ɪt ðeəz eɪ ˈpær.ə.lel wɪð ˈθɪə.ri ðiː weɪ hiː bɪldz ˈten.ʃən ænd rɪˈliːs fiːlz laɪk ˈset.ɪŋ ˈbaʊn.dər.i kənˈdɪʃ.ənz ænd ðen ˈlet.ɪŋ æn ɪˈkweɪ.ʒən ɪˈvɒlv/
How do I feel? Calm, focused, and oddly reassured.
/haʊ duː aɪ fiːl kɑːm ˈfəʊ.kəst ænd ˈɒd.li ˌriː.əˈʃɔːd/
His playing reminds me that discipline and sensitivity can coexist.
/hɪz ˈpleɪ.ɪŋ rɪˈmaɪndz miː ðæt ˈdɪs.ə.plɪn ænd ˌsen.sɪˈtɪv.ɪ.ti kæn ˌkəʊ.ɪɡˈzɪst/
At the end of the day, I’m grateful, because his music doesn’t just entertain me; it stabilises my mood before deadlines and helps me return to work with renewed concentration.
/æt ðiː end ɒv ðiː deɪ aɪm ˈɡreɪt.fəl bɪˈkɒz hɪz ˈmjuː.zɪk ˈdʌz.ənt dʒʌst ˌen.təˈteɪn miː ɪt ˈsteɪ.bɪ.laɪ.zɪz maɪ muːd bɪˈfɔː ˈded.laɪnz ænd helps miː rɪˈtɜːn tuː wɜːk wɪð rɪˈnjuːd ˌkɒn.sənˈtreɪ.ʃən/
part3
Notes
- What kind of music is popular in your country?
- What kind of music do young people like?
- Do you think music is beneficial for children at school?
- What are the benefits of children learning a musical instrument?
- Do you know what kind of music children like today?
- Do you think the government should invest more money on concerts?
What kind of music is popular in your country?
Well, I think mainstream Mandopop still dominates—especially lyric-driven ballads and mid-tempo R&B-inflected tracks with strong melodic hooks. On campus, you know, streaming platforms and short-video apps effectively curate taste: songs with a memorable 15-second chorus gain algorithmic visibility and then spill over into cafés and dorms. There’s also a noticeable hip-hop presence—clean trap production, collaborative features, and a focus on self-expression. At the same time, indie “livehouse” acts are carving out space in big cities, which, I suppose, signals a demand for authenticity and artistic autonomy.
At the end of the day, what’s popular is music that offers emotional resonance plus high replay value, whether it’s a sentimental ballad for late-night study sessions or a beat-driven track that keeps your energy up in the lab.
Well, I think mainstream Mandopop still dominates—especially lyric-driven ballads and mid-tempo R&B-inflected tracks with strong melodic hooks.
/wel aɪ θɪŋk ˈmeɪn.striːm ˈmæn.dəʊ.pɒp stɪl ˈdɒm.ɪ.neɪts ɪˈspeʃ.əli ˈlɪr.ɪk ˈdrɪv.ən ˈbæl.ədz ænd mɪd ˈtem.pəʊ ɑː ænd biː ɪnˈflek.tɪd træks wɪð strɒŋ məˈlɒd.ɪk hʊks/
On campus, you know, streaming platforms and short-video apps effectively curate taste: songs with a memorable 15-second chorus gain algorithmic visibility and then spill over into cafés and dorms.
/ɒn ˈkæm.pəs juː nəʊ ˈstriː.mɪŋ ˈplæt.fɔːmz ænd ʃɔːt ˈvɪd.i.əʊ æps ɪˈfek.tɪv.li kjʊəˈreɪt teɪst sɒŋz wɪð eɪ ˈmem.ər.ə.bəl ˌfɪfˈtiːn ˈsek.ənd ˈkɔː.rəs ɡeɪn ˌæl.ɡəˈrɪð.mɪk ˌvɪz.əˈbɪl.ə.ti ænd ðen spɪl ˈəʊ.və ˈɪn.tuː ˈkæf.eɪz ænd dɔːmz/
There’s also a noticeable hip-hop presence—clean trap production, collaborative features, and a focus on self-expression.
/ðeəz ˈɔːl.səʊ eɪ ˈnəʊ.tɪ.sə.bəl hɪp hɒp ˈprez.əns kliːn træp prəˈdʌk.ʃən kəˈlæb.ə.rə.tɪv ˈfiː.tʃəz ænd eɪ ˈfəʊ.kəs ɒn self ɪkˈspreʃ.ən/
At the same time, indie “livehouse” acts are carving out space in big cities, which, I suppose, signals a demand for authenticity and artistic autonomy.
/æt ðiː seɪm taɪm ˈɪn.di ˈlaɪv.haʊs ækts ɑː ˈkɑː.vɪŋ aʊt speɪs ɪn bɪɡ ˈsɪt.iz wɪtʃ aɪ səˈpəʊz ˈsɪɡ.nəlz eɪ dɪˈmɑːnd fɔː ˌɔː.θenˈtɪs.ɪ.ti ænd ɑːˈtɪs.tɪk ɔːˈtɒn.ə.mi/
At the end of the day, what’s popular is music that offers emotional resonance plus high replay value, whether it’s a sentimental ballad for late-night study sessions or a beat-driven track that keeps your energy up in the lab.
/æt ðiː end ɒv ðiː deɪ wɒts ˈpɒp.jə.lə ɪz ˈmjuː.zɪk ðæt ˈɒf.əz ɪˈməʊ.ʃən.əl ˈrez.ə.nəns plʌs haɪ ˈriː.pleɪ ˈvæl.juː ˈweð.ə ɪts eɪ ˌsen.tɪˈmen.təl ˈbæl.əd fɔː leɪt naɪt ˈstʌd.i ˈseʃ.ənz ɔː eɪ biːt ˈdrɪv.ən træk ðæt kiːps jɔː ˈen.ə.dʒi ʌp ɪn ðiː læb/
What kind of music do young people like?
Well, I think young people like music that serves a function in daily routines. For studying, many of us choose lo-fi instrumentals or ambient piano, because the absence of lyrics lowers cognitive load and, you know, helps with sustained attention. When I’m coding a simulation or reading arXiv papers for theoretical physics, that sort of texture really stabilises my mood. For commuting or the gym, high-BPM pop and EDM work because they provide immediate arousal and mood regulation. In social settings, mandopop ballads and hip-hop remain popular—partly for lyrical resonance, partly for collective singing at karaoke.
At the end of the day, popularity hinges on utility plus emotional payoff: tracks that either enable productivity or deliver a quick burst of motivation tend to dominate our playlists.
Well, I think young people like music that serves a function in daily routines.
/wel aɪ θɪŋk jʌŋ ˈpiː.pəl laɪk ˈmjuː.zɪk ðæt sɜːvz eɪ ˈfʌŋk.ʃən ɪn ˈdeɪ.li ruːˈtiːnz/
For studying, many of us choose lo-fi instrumentals or ambient piano, because the absence of lyrics lowers cognitive load and, you know, helps with sustained attention.
/fɔː ˈstʌd.i.ɪŋ ˈmen.i ɒv ʌs tʃuːz ˈləʊ.faɪ ˌɪn.strəˈmen.təlz ɔː ˈæm.bi.ənt piˈæn.əʊ bɪˈkɒz ðiː ˈæb.səns ɒv ˈlɪr.ɪks ˈləʊ.əz ˈkɒɡ.nə.tɪv ləʊd ænd juː nəʊ helps wɪð səˈsteɪnd əˈten.ʃən/
When I’m coding a simulation or reading arXiv papers for theoretical physics, that sort of texture really stabilises my mood.
/wen aɪm ˈkəʊ.dɪŋ eɪ ˌsɪm.jʊˈleɪ.ʃən ɔː ˈriː.dɪŋ ˈɑːkaɪv ˈpeɪ.pəz fɔː ˌθɪəˈret.ɪ.kəl ˈfɪz.ɪks ðæt sɔːt ɒv ˈteks.tʃə ˈrɪə.li ˈsteɪ.bɪ.laɪ.zɪz maɪ muːd/
For commuting or the gym, high-BPM pop and EDM work because they provide immediate arousal and mood regulation.
/fɔː kəˈmjuː.tɪŋ ɔː ðiː dʒɪm haɪ biː piː em pɒp ænd iː diː em wɜːk bɪˈkɒz ðeɪ prəˈvaɪd ɪˈmiː.di.ət əˈraʊ.zəl ænd muːd ˌreɡ.jʊˈleɪ.ʃən/
In social settings, mandopop ballads and hip-hop remain popular—partly for lyrical resonance, partly for collective singing at karaoke.
/ɪn ˈsəʊ.ʃəl ˈset.ɪŋz ˈmæn.dəʊ.pɒp ˈbæl.ədz ænd hɪp hɒp rɪˈmeɪn ˈpɒp.jə.lə ˈpɑːt.li fɔː ˈlɪr.ɪ.kəl ˈrez.ə.nəns ˈpɑːt.li fɔː kəˈlek.tɪv ˈsɪŋ.ɪŋ æt ˌkær.iˈəʊ.ki/
At the end of the day, popularity hinges on utility plus emotional payoff: tracks that either enable productivity or deliver a quick burst of motivation tend to dominate our playlists.
/æt ðiː end ɒv ðiː deɪ ˌpɒp.jəˈlær.ə.ti ˈhɪn.dʒɪz ɒn juːˈtɪl.ə.ti plʌs ɪˈməʊ.ʃən.əl ˈpeɪ.ɒf træks ðæt ˈaɪ.ðə ɪˈneɪ.bəl ˌprɒd.ʌkˈtɪv.ɪ.ti ɔː dɪˈlɪv.ə eɪ kwɪk bɜːst ɒv ˌməʊ.tɪˈveɪ.ʃən tend tuː ˈdɒm.ɪ.neɪt aʊə ˈpleɪ.lɪsts/
Do you think music is beneficial for children at school?
Well, I think music is beneficial provided it’s used intentionally. In class, low-volume background music can aid attention regulation and reduce idle noise; for tasks requiring recall, simple melodies work as mnemonic devices. Structured music lessons also build phonological awareness, which supports early literacy, and ensemble work cultivates cooperation and self-discipline. In my lab, I see a parallel: rhythm training is basically pattern recognition, the same habit of mind I need for Fourier analysis. That said, it shouldn’t become constant background sound; for demanding reading, silence may be more efficient. So, basically, music helps when it’s age-appropriate, time-bounded, and linked to learning outcomes. At the end of the day, purposeful integration beats random playlists.
Well, I think music is beneficial provided it’s used intentionally.
/ wel aɪ θɪŋk ˈmjuː.zɪk ɪz ˌben.ɪˈfɪʃ.əl prəˈvaɪ.dɪd ɪts juːzd ɪnˈten.ʃən.əl.i /
In class, low-volume background music can aid attention regulation and reduce idle noise; for tasks requiring recall, simple melodies work as mnemonic devices.
/ ɪn klɑːs ləʊ ˈvɒl.juːm ˈbæk.ɡraʊnd ˈmjuː.zɪk kæn eɪd əˈten.ʃən ˌreɡ.jəˈleɪ.ʃən ænd rɪˈdjuːs ˈaɪ.dəl nɔɪz fɔː tɑːsks rɪˈkwaɪə.rɪŋ ˈriː.kɔːl ˈsɪm.pəl ˈmel.ə.diz wɜːk æz nɪˈmɒn.ɪk dɪˈvaɪ.sɪz /
Structured music lessons also build phonological awareness, which supports early literacy, and ensemble work cultivates cooperation and self-discipline.
/ ˈstrʌk.tʃəd ˈmjuː.zɪk ˈles.ənz ˈɔːl.səʊ bɪld ˌfəʊ.nəˈlɒdʒ.ɪ.kəl əˈweə.nəs wɪtʃ səˈpɔːts ˈɜː.li ˈlɪt.ər.ə.si ænd ɒnˈsɒm.bəl wɜːk ˈkʌl.tɪ.veɪts kəʊˌɒp.ərˈeɪ.ʃən ænd ˌselfˈdɪs.ə.plɪn /
In my lab, I see a parallel: rhythm training is basically pattern recognition, the same habit of mind I need for Fourier analysis.
/ ɪn maɪ læb aɪ siː ə ˈpær.ə.lel ˈrɪð.əm ˈtreɪ.nɪŋ ɪz ˈbeɪ.sɪ.kəl.i ˈpæt.ən ˌrek.əɡˈnɪʃ.ən ðə seɪm ˈhæb.ɪt ɒv maɪnd aɪ niːd fɔː ˈfʊə.ri.ər əˈnæl.ə.sɪs /
That said, it shouldn’t become constant background sound; for demanding reading, silence may be more efficient.
/ ðæt sed ɪt ˈʃʊd.ənt bɪˈkʌm ˈkɒn.stənt ˈbæk.ɡraʊnd saʊnd fɔː dɪˈmɑːn.dɪŋ ˈriː.dɪŋ ˈsaɪ.ləns meɪ biː mɔːr ɪˈfɪʃ.ənt /
So, basically, music helps when it’s age-appropriate, time-bounded, and linked to learning outcomes.
/ səʊ ˈbeɪ.sɪ.kəl.i ˈmjuː.zɪk helps wen ɪts ˌeɪdʒ.əˈprəʊ.pri.ət taɪm ˈbaʊn.dɪd ænd lɪŋkt tuː ˈlɜː.nɪŋ ˈaʊt.kʌmz /
At the end of the day, purposeful integration beats random playlists.
/ æt ðiː end ɒv ðiː deɪ ˈpɜː.pəs.fəl ˌɪn.tɪˈɡreɪ.ʃən biːts ˈræn.dəm ˈpleɪ.lɪsts /
What are the benefits of children learning a musical instrument?
Well, I think learning an instrument is beneficial mainly because it strengthens executive function—things like working memory, attentional control and self-regulation. Daily practice also cultivates perseverance and delayed gratification: you repeat scales, tolerate small failures, and improve incrementally. In my physics programme, that mindset transfers to problem-solving—you know, running a simulation is basically the same patience game as practising with a metronome. There’s also fine-motor coordination and auditory discrimination, which may support phonological awareness in younger learners. I’d add metacognition: students plan practice, monitor errors, and adapt strategies. Maybe not every child experiences dramatic gains, but the discipline and reflection are broadly applicable. At the end of the day, an instrument is a practical course in focus, resilience, and structured improvement.
Well, I think learning an instrument is beneficial mainly because it strengthens executive function—things like working memory, attentional control and self-regulation.
/wel aɪ θɪŋk ˈlɜː.nɪŋ æn ˈɪn.strə.mənt ɪz ˌben.ɪˈfɪʃ.əl ˈmeɪn.li bɪˈkɒz ɪt ˈstreŋ.θənz ɪɡˈzek.jə.tɪv ˈfʌŋk.ʃən θɪŋz laɪk ˈwɜː.kɪŋ ˈmem.ər.i əˈten.ʃən.əl kənˈtrəʊl ænd self ˌreɡ.jəˈleɪ.ʃən/
Daily practice also cultivates perseverance and delayed gratification: you repeat scales, tolerate small failures, and improve incrementally.
/ˈdeɪ.li ˈpræk.tɪs ˈɔːl.səʊ ˈkʌl.tɪ.veɪts ˌpɜː.sɪˈvɪə.rəns ænd dɪˈleɪd ˌɡræt.ɪ.fɪˈkeɪ.ʃən juː rɪˈpiːt skeɪlz ˈtɒl.ə.reɪt smɔːl ˈfeɪ.ljəz ænd ɪmˈpruːv ˌɪŋ.krəˈmen.təl.i/
In my physics programme, that mindset transfers to problem-solving—you know, running a simulation is basically the same patience game as practising with a metronome.
/ɪn maɪ ˈfɪz.ɪks ˈprəʊ.ɡræm ðæt ˈmaɪnd.set trænsˈfɜːz tuː ˈprɒb.ləm ˈsɒlv.ɪŋ juː nəʊ ˈrʌn.ɪŋ eɪ ˌsɪm.jʊˈleɪ.ʃən ɪz ˈbeɪ.sɪ.kəl.i ðiː seɪm ˈpeɪ.ʃəns ɡeɪm æz ˈpræk.tɪ.sɪŋ wɪð eɪ ˈmet.rə.nəʊm/
There’s also fine-motor coordination and auditory discrimination, which may support phonological awareness in younger learners.
/ðeəz ˈɔːl.səʊ faɪn ˈməʊ.tə kəʊˌɔː.dɪˈneɪ.ʃən ænd ˈɔː.dɪ.tər.i dɪˌskrɪm.ɪˈneɪ.ʃən wɪtʃ meɪ səˈpɔːt ˌfəʊ.nəˈlɒdʒ.ɪ.kəl əˈweə.nəs ɪn ˈjʌŋ.ɡə ˈlɜː.nəz/
I’d add metacognition: students plan practice, monitor errors, and adapt strategies.
/aɪd æd ˌmet.ə.kɒɡˈnɪʃ.ən ˈstjuː.dənts plæn ˈpræk.tɪs ˈmɒn.ɪ.tə ˈer.əz ænd əˈdæpt ˈstræt.ə.dʒiz/
Maybe not every child experiences dramatic gains, but the discipline and reflection are broadly applicable.
/ˈmeɪ.bi nɒt ˈev.ri tʃaɪld ɪkˈspɪə.ri.ən.sɪz drəˈmæt.ɪk ɡeɪnz bʌt ðiː ˈdɪs.ə.plɪn ænd rɪˈflek.ʃən ɑː ˈbrɔːd.li əˈplɪk.ə.bəl/
At the end of the day, an instrument is a practical course in focus, resilience, and structured improvement.
/æt ðiː end ɒv ðiː deɪ ən ˈɪn.strə.mənt ɪz eɪ ˈpræk.tɪ.kəl kɔːs ɪn ˈfəʊ.kəs rɪˈzɪl.i.əns ænd ˈstrʌk.tʃəd ɪmˈpruːv.mənt/
Do you know what kind of music children like today?
Well, I think most children today gravitate toward upbeat mainstream pop—often C-pop or K-pop—because it’s hook-driven and easy to imitate. Short-form platforms push songs with a chorus-first structure, a high perceived tempo (roughly 100–130 BPM), and very salient rhythm, so the exposure effect kicks in fast. There’s also peer contagion: once a dance challenge circulates in a class WeChat group, the song becomes a shared reference point. To be honest, the appeal is partly cognitive economy—simple lyrics, predictable melodic contour, and repetitive rhyme schemes reduce processing load, which feels rewarding. In other words, the mix of novelty-seeking and algorithmic recommendation systematically favours catchy pop. At the end of the day, children like what is easy to sing, easy to move to, and socially visible.
Well, I think most children today gravitate toward upbeat mainstream pop—often C-pop or K-pop—because it’s hook-driven and easy to imitate.
/wel aɪ θɪŋk məʊst ˈtʃɪl.drən təˈdeɪ ˈɡræv.ɪ.teɪt təˈwɔːd ˈʌp.biːt ˈmeɪn.striːm pɒp ˈɒf.tən siː pɒp ɔː keɪ pɒp bɪˈkɒz ɪts hʊk ˈdrɪv.ən ænd ˈiː.zi tuː ˈɪm.ɪ.teɪt/
Short-form platforms push songs with a chorus-first structure, a high perceived tempo (roughly 100–130 BPM), and very salient rhythm, so the exposure effect kicks in fast.
/ʃɔːt fɔːm ˈplæt.fɔːmz pʊʃ sɒŋz wɪð eɪ ˈkɔː.rəs fɜːst ˈstrʌk.tʃə eɪ haɪ pəˈsiːvd ˈtem.pəʊ ˈrʌf.li wʌn ˈhʌn.drəd tuː wʌn ˈhʌn.drəd ænd ˈθɜː.tiː biː piː em ænd ˈver.i ˈseɪ.li.ənt ˈrɪð.əm səʊ ðiː ɪkˈspəʊ.ʒə ɪˈfekt kɪks ɪn fɑːst/
There’s also peer contagion: once a dance challenge circulates in a class WeChat group, the song becomes a shared reference point.
/ðeəz ˈɔːl.səʊ pɪə kənˈteɪ.dʒən wʌns eɪ dɑːns ˈtʃæl.ɪndʒ ˈsɜː.kjə.leɪts ɪn eɪ klɑːs ˈwiː.tʃæt ɡruːp ðə sɒŋ bɪˈkʌmz eɪ ʃeəd ˈref.ərəns pɔɪnt/
To be honest, the appeal is partly cognitive economy—simple lyrics, predictable melodic contour, and repetitive rhyme schemes reduce processing load, which feels rewarding.
/tuː biː ˈɒn.ɪst ðiː əˈpiːl ɪz ˈpɑːt.li ˈkɒɡnətɪv ɪˈkɒn.ə.mi ˈsɪm.pəl ˈlɪr.ɪks prɪˈdɪk.tə.bəl məˈlɒd.ɪk ˈkɒn.tʊə ænd rɪˈpet.ɪ.tɪv raɪm skiːmz rɪˈdjuːs ˈprəʊ.ses.ɪŋ ləʊd wɪtʃ fiːlz rɪˈwɔː.dɪŋ/
In other words, the mix of novelty-seeking and algorithmic recommendation systematically favours catchy pop.
/ɪn ˈʌð.ə wɜːdz ðə mɪks ɒv ˈnɒv.əl.ti ˈsiː.kɪŋ ænd ˌæl.ɡəˈrɪð.mɪk ˌrek.ə.menˈdeɪ.ʃən ˌsɪs.təˈmæt.ɪ.kəl.i ˈfeɪ.vəz ˈkætʃ.i pɒp/
At the end of the day, children like what is easy to sing, easy to move to, and socially visible.
/æt ðiː end ɒv ðiː deɪ ˈtʃɪl.drən laɪk wɒt ɪz ˈiː.zi tuː sɪŋ ˈiː.zi tuː muːv tuː ænd ˈsəʊ.ʃəl.i ˈvɪz.ə.bəl/
Do you think the government should invest more money on concerts?
Well, I think governments should invest more in concerts if the funding is tied to a public purpose—access, education, and cultural inclusion. Concerts generate positive externalities: they strengthen social cohesion, preserve cultural heritage, and, you know, provide stress relief—which, as a postgraduate juggling lab deadlines, I genuinely value. But the support ought to be targeted: subsidise student tickets, fund community orchestras, and require outreach workshops in schools. In other words, public money should expand equitable access rather than simply underwriting commercial tours. A cost–benefit approach and basic accountability metrics—attendance diversity, education hours delivered—can keep it efficient. At the end of the day, I’m in favour, provided the investment delivers public value beyond private entertainment.
Well, I think governments should invest more in concerts if the funding is tied to a public purpose—access, education, and cultural inclusion.
/ wel aɪ θɪŋk ˈɡʌv.ən.mənts ʃʊd ɪnˈvest mɔː ɪn ˈkɒn.səts ɪf ðiː ˈfʌn.dɪŋ ɪz taɪd tuː eɪ ˈpʌb.lɪk ˈpɜː.pəs ˈæk.ses ˌed.jʊˈkeɪ.ʃən ænd ˈkʌl.tʃər.əl ɪnˈkluː.ʒən /
Concerts generate positive externalities: they strengthen social cohesion, preserve cultural heritage, and, you know, provide stress relief—which, as a postgraduate juggling lab deadlines, I genuinely value.
/ ˈkɒn.səts ˈdʒen.ə.reɪt ˈpɒz.ə.tɪv ˌek.stɜːˈnæl.ə.tiz ðeɪ ˈstreŋθ.ən ˈsəʊ.ʃəl kəʊˈhiː.ʒən prɪˈzɜːv ˈkʌl.tʃər.əl ˈher.ɪ.tɪdʒ ænd juː nəʊ prəˈvaɪd stres rɪˈliːf wɪtʃ æz eɪ ˌpəʊstˈɡrædʒ.u.ət ˈdʒʌɡ.lɪŋ læb ˈded.laɪnz aɪ ˈdʒen.ju.ɪn.li ˈvæl.juː /
But the support ought to be targeted: subsidise student tickets, fund community orchestras, and require outreach workshops in schools.
/ bʌt ðiː səˈpɔːt ɔːt tuː biː ˈtɑː.ɡɪ.tɪd ˈsʌb.sɪ.daɪz ˈstjuː.dənt ˈtɪk.ɪts fʌnd kəˈmjuː.nə.ti ˈɔː.kɪ.strəz ænd rɪˈkwaɪə ˈaʊt.riːtʃ ˈwɜːk.ʃɒps ɪn skuːlz /
In other words, public money should expand equitable access rather than simply underwriting commercial tours.
/ ɪn ˈʌð.ə wɜːdz ˈpʌb.lɪk ˈmʌn.i ʃʊd ɪkˈspænd ˈek.wɪ.tə.bəl ˈæk.ses ˈrɑː.ðə ðæn ˈsɪm.pli ˌʌn.dəˈraɪ.tɪŋ kəˈmɜː.ʃəl tʊəz /
A cost–benefit approach and basic accountability metrics—attendance diversity, education hours delivered—can keep it efficient.
/ eɪ kɒst ˈben.ɪ.fɪt əˈprəʊtʃ ænd ˈbeɪ.sɪk əˌkaʊn.təˈbɪl.ɪ.ti ˈmet.rɪks əˈten.dəns daɪˈvɜː.sə.ti ˌed.jʊˈkeɪ.ʃən ˈaʊəz dɪˈlɪv.əd kæn kiːp ɪt ɪˈfɪʃ.ənt /
At the end of the day, I’m in favour, provided the investment delivers public value beyond private entertainment.
/ æt ðiː end ɒv ðiː deɪ aɪm ɪn ˈfeɪ.və prəˈvaɪ.dɪd ðiː ɪnˈvest.mənt dɪˈlɪv.əz ˈpʌb.lɪk ˈvæl.juː bɪˈjɒnd ˈpraɪ.vət ˌen.təˈteɪn.mənt /
Words
| 词汇 | 音标 | 含义 |
|---|---|---|
| concentration | ||
| stabilises | ||
| deadlines | ||
| discipline and sensitivity can coexist. | ||
| reassured | adj. 使消除疑虑的；使放心的 v. 使安心；再次保证（reassure 的过去式） | |
| oddly reassured. | 莫名地感到安心。 | |
| there’s a parallel with theory: | ||
| a parallel with | 与......平行；类似于...... | |
| evolve | v. 进化，演化；逐步发展，逐渐演变 | |
| restorative | restorative | |
| drop by | drop by | |
| She and Danny will drop by later | ||
| improvise | v. 即兴表演，即兴创作；临时做，临时凑成 | |
| metronomic | adj. 节拍器的；有节奏的 | |
| delicate | adj. 柔和的，清淡的；虚弱的，纤弱的；脆弱的，易碎的；小巧玲珑的，纤细的；微妙的，棘手的；精致的，精巧的；灵巧的，熟练的；（仪器）灵敏的 n. 精美的衣物 | |
| intentional | adj. 故意的，蓄意的 | |
| impressionist piano | 印象派钢琴演奏 | |
| light jazz arrangements of Chinese folk melodies. | 中国民间旋律的轻柔爵士改编曲。 | |
| charity concerts | ||
| pianist | ||
| nerdily | adv. 书呆子似地 | |
| Mainstream | n. 主流 adj. 主流的；（学校，班级）为无特殊需求学生开设的，普通的 v. 使主流化，使成为主流； | |
| dominate | v. 统治，支配；在……中占首要地位；俯视，高耸于；占绝对优势 | |
| lyric-driven | 以歌词为主导的 | |
| ballad | n. 歌谣，民谣；芭乐；叙事歌谣；流行抒情歌曲 | |
| mid-tempo | adj．中速节奏：指音乐节奏介于快速和慢速之间的一种节奏。 | |
| R&B-inflected | 带有节奏布鲁斯风格的 | |
| inflected | adj. 屈折的；字尾有变化的 v. 弯曲；曲折（inflect 的过去式） | |
| tracks | n. [铁路]轨道（track 的复数）；曲子 | |
| melodic hooks | 旋律性的高潮段落 | |
| hook | n. 钩，挂钩；勾拳；曲线球；吸引人的东西；使（投手）下场；（尤指用于收割、剪羊毛）弧形切割工具；弯曲的笔画；弧形岬（或沙嘴） v. 钩住，挂住；（用手臂等身体部位）箍住；钓鱼；打曲线球；弯成钩状；吸引；<非正式>偷窃；<非正式>卖淫；把……连接到（某设备） | |
| curate | n. （某教区的）助理牧师；堂区牧师 v. 操持（收藏品或展品的）展出；组织（音乐节的）演出 | |
| curate taste | 引导审美偏好，鉴赏力；品味 | |
| chorus | n. 副歌，叠句；合唱团，歌咏队；齐声，异口同声；合唱歌曲；（古希腊戏剧）合唱队，解说演员；(伊丽莎白时期戏剧）旁白；乐器扩音器；（演出中伴舞的）歌舞队 v. 齐声说，齐唱 | |
| spill over | 溢出：指某物超出原本的范围或限制，流出或扩散到其他地方。 | |
| spill over into | ||
| gain algorithmic visibility | 获得算法可见性，获得算法青睐 | |
| a noticeable hip-hop presence | 明显的嘻哈风格特征 | |
| clean trap production | 编排干净的Trap曲风 | |
| collaborative features | 合作作品 / 合作曲 | |
| a focus on self-expression | 侧重于自我表达 | |
| indie | adj. （摇滚、流行音乐、影片等）独立制作的，非大公司的；（流行乐队）追求非主流的 n. 独立制片公司；独立小公司的产品 | |
| livehouse | n．现场音乐表演场所，通常提供现场音乐表演、饮品和食物，观众可以在轻松的氛围中欣赏音乐表演。 | |
| carving out | 创造：通过刻苦努力或仿佛切割一样创造（声誉、机会、角色、职位、事业、胜利）等。 | |
| autonomy | n. 自治，自治权；独立自主，自主权 | |
| signals | n. 信号；动机（signal 的复数）；标志 v. 表示（signal 的第三人称单数）；发信号 | |
| resonance | n. （声音的）深沉，洪亮；（情感的）共鸣，反响；（物理）共鸣，共振；（电路或设备）谐振；（天文）共振；（化）中介（现象）；（物理）共振态 | |
| sentimental | adj. 情感的（而非理性的）；多愁善感的，柔情的；（故事、电影、书等）感伤的，故作伤感的 | |
| a beat-driven track | ||
| Mandopop | n. 华语流行音乐 | |
| serves a function in daily routines | 在日常生活中发挥作用 | |
| lo-fi instrumentals | 学习与工作时的背景音乐：一种以器乐为主的、带有温暖、粗糙、不完美质感的纯音乐。 | |
| ambient | adj. 环境的，周围的；（与）背景音乐（有关）的；（广告）利用环境来做的（区别于媒体广告） n. 环境音乐 | |
| cognitive load | 认知负荷：指个体工作记忆资源的使用量。 | |
| sustained attention | 持续注意力：指在一段时间内保持专注和集中注意力的能力，不受外界干扰的影响。 | |
| texture | n. 质地，纹理；口感；（音乐或文学的）谐和统一感，神韵 v. 使（织物、墙面等）具浮凸结构（或特征） | |
| stabilises my mood | 使我心情稳定下来 | |
| immediate arousal | 即时兴奋；迅速唤醒 | |
| mood regulation | 情绪调节 | |
| lyrical resonance | 歌词富有感染力 | |
| collective singing | 集体合唱 | |
| collective | adj. 集体的，共同的；总的，集合的 n. 集体农庄，集体企业；集合名词 | |
| hinges | n. [机]铰链；合页（hinge 的复数）；小五金 v. 给……装上绞链；使以……为条件（hinge 的第三人称单数形式） | |
| hinges on | 取决于：由（某事物）决定或确定：依赖于（某事物）。 | |
| utility | n. （煤气、水、电等的）公共服务，公用事业；（供电、供水等的）公用事业单位；应用程序，实用程序；实用，有用；<澳>小卡车，轻型货车；（博弈论，经济学）效用 adj. 有用的，多功能的；（体育运动）多面手的；实用的 | |
| emotional payoff | 情感回报 | |
| burst of motivation | “爆发的干劲；强烈的动力” | |
| popularity | ||
| either | conj. 或者，要么；两者都（不），既（不） pron. （两者之中）任意一个；两者都（不） adv. 也（不），亦（不）；而且，还 det. （两者中的）每个，各方 adj. （两者中的）每个的，各方的 | |
| I think music is beneficial provided it’s used intentionally | provided这里做if解释，是连词，“假如，如果”，有时也会说provided that | |
| idle noise | 空闲噪音：指在没有实际工作或活动时产生的噪音。 | |
| mnemonic | adj. 记忆的；助记的；记忆术的 n. 记忆术；助记符；助记口诀 | |
| mnemonic devices | 助记手段，助忆术；助记装置；记忆技巧 | |
| phonological awareness | 音韵意识：指对声音结构的三个层次（音节、音位和音素）进行检测和操作的能力。 | |
| phonological | adj. 音韵学的 | |
| literacy | n. 识字，读写能力；专业知识；精通文学 | |
| ensemble | ||
| I see a parallel: | I see a parallel: | |
| cultivates cooperation and self-discipline | 培养合作精神和自律能力 | |
| pattern recognition | 模式识别：在数据中识别出模式和规律的过程。 | |
| demanding reading | 对于需要专注阅读的情况 | |
| age-appropriate | 适龄的 | |
| time-bounded | 有时间限制的 | |
| purposeful integration | 有目的的整合 | |
| incrementally | adv. 递增地；增值地 | |
| working memory | 工作记忆：涉及将信息存储、集中注意力和操纵信息的记忆，其时间相对较短（如几秒钟）。 | |
| self-regulation | n. 自动调节 | |
| delayed gratification | 延迟满足感：指推迟享受的快乐，即为了获得更大的回报而暂时放弃眼前的享受。 | |
| you repeat scales | 反复练习音阶 | |
| tolerate small failures | ||
| fine-motor | 精细动作：指人体小肌肉群的协调运动，如手指、手腕等部位的运动。 | |
| fine-motor coordination | 精细动作协调能力 | |
| auditory discrimination | 听觉辨别 | |
| monitor errors, | 监控错误 | |
| applicable | applicable |
| 词汇 | 音标 | 含义 |
|---|---|---|
| structured improvement. | 结构改进：对建筑物、设备或系统进行的优化和调整，以提高其性能、稳定性或安全性。 | |
| gravitate | v. 向……移动，被吸引到；（物理）受重力（或其他引力）作用而运动（或倾向于运动） | |
| gravitate toward | 被吸引或朝着某物或某人的方向移动：指被某种力量或吸引力所影响，朝着某个目标或对象的方向移动。 | |
| upbeat mainstream pop | 积极向上的主流流行音乐 | |
| hook-driven | 音乐领域： 这是“hook”最经典的应用场景。指的是一首歌里最抓耳、最容易让人记住的部分，比如副歌的旋律、一段朗朗上口的吉他 riff 或一句重复的歌词。一首“hook-driven”的歌曲，通常意味着它的成功很大程度上依赖于这个极具记忆点的部分。 _例子：_很多流行歌曲和抖音神曲都是高度“hook-driven”的。 | |
| Short-form platforms | 短视频/短内容平台 | |
| chorus | 副歌 | |
| a high perceived tempo | 一种被感知的较快节奏 | |
| perceived | adj. 感知到的；感观的 v. 感知；认为；领会（perceive 的过去式和过去分词） | |
| tempo | n. （运动或活动的）速度，节奏；（音乐的）节奏，拍子；（印度次大陆）轻型三轮货车 | |
| salient | adj. 突出的，显著的；（角）凸出的；（纹章，动物）后腿站立前爪举起的 n. （防御工事的）凸出部分 | |
| the exposure effect | 曝光效应 | |
| peer contagion | 同伴推荐（同学模仿，同学间流行） | |
| contagion | n. 传染病；蔓延；触染 | |
| circulates | v. （液体或气体）环流，循环；传播，流传；传阅，传送；来往应酬，周旋 | |
| a shared reference point. | 共同话题 | |
| cognitive | adj. 认识的，认知的 | |
| cognitive economy | 认知经济 | |
| contour | n. 轮廓，外形，周线；等高线，恒值线（contour line）；（音调或声调的）升降曲线，变化方式；概要 v. 使与某轮廓吻合；在（地图，图表上）标等高线；（公路，铁路）循地形轮廓（尤指循等高线）而行 | |
| novelty-seeking | 求新性：一种与对新刺激的探索活动、冲动性决策、对奖励线索的奢侈态度、易怒和避免挫折有关的个性特征。 | |
| catchy | adj. （曲调或口号）悦耳易记的；易使人上当的 | |
| catchy pop | 朗朗上口的流行音乐 | |
| favours | n. 支持，喜爱；帮忙，恩惠；偏爱；小礼物； v. 偏袒，偏爱；支持，更喜欢；有利于；长得像；悉心照料 | |
| socially visible | 社会可见的 | |
| imitate. | ||
| Cultural inclusion | 文化包容性 | |
| externalities | n. 外部性；外部效应 | |
| social cohesion | 社交凝聚力 | |
| cultural heritage | 文化遗产：指一个国家或地区所拥有的具有历史、艺术、科学、宗教、社会等方面价值的物质和非物质遗产。 | |
| juggling | n. 杂耍；改动，重新安排；（拥有好职位的专业人员所涉及的）欺骗，欺诈 v. 玩杂耍；尽力同时应付；有效利用（信息、数字、开支等）（juggle 的现在分词） | |
| as a postgraduate juggling lab deadlines | ||
| ought to | 应该：用于表示有必要或是做某事是好事的情况。 预计会：用于表示你期望会发生某事。 | |
| subsidise | vi. 消退；下沉；平息 vt. 资助（等于 subsidize）；给……补助金 | |
| orchestras | n. （大型的）管弦乐队；乐池（=orchestra pit）；<美>（剧院中）靠近舞台的座位；古希腊剧场舞台前部半圆形的表演区（供合唱队表演歌舞） | |
| outreach | n. 外展服务，扩大范围的服务；主动帮助 v. 超出……的限度或范围；超过，胜出；伸出双臂 adj. 外展服务的，扩大服务范围的 | |
| equitable | adj. 公平合理的，公正的；衡平法上有效的 | |
| underwriting | n. 保险业；[金融]证券包销 v. 认购（underwrite 的 ing 形式）；写在……下面；经营保险业 | |
| commercial tours | 商业旅游：由旅行社或其他商业机构组织的旅游活动，通常包括交通、住宿、餐饮和景点门票等服务。 | |
| cost–benefit | 成本效益：在考虑成本的情况下，展示一项行动的优势。 | |
| A cost–benefit approach | ||
| accountability metrics | 问责制指标 | |
| accountability | n. 责任，责任心，可说明性 | |
| attendance diversity | ||
| private | ˈpraɪ.vət | |