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发表于 2017-8-26 13:05:20
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8月26日听写
tpo34的最后一篇lecture
上周日做的时候错了两道题
今天找出来做了一下听写:
方法:
1)精听一遍记笔记,然后复述
2)听写
3)精听一遍
4)改正听写
5)精听+跟读
6)题目分析
第一步到第四步:
第一遍:
大概意思:
商业管理课,讨论了s曲线,老师先让一个女同学回忆了s曲线,就是新产品的开始,没什么人注意,然后慢慢增长,然后吸引了大量的市场和用户,然后到了右边,开始逐渐减退。这时老师说到了成熟期,这个时候就要选择是继续坚持这个old and safe的商业方案,还是冒险做一些改变。 然后说到这样的改变是很有风险的。这时候用了一个例子,老师问男同学是不是去干了什么忘记了但是跟爵士乐有关的,然后提到了milles davis(大概这么拼)的一个爵士乐专辑, kind of blue,然后说这是她也最喜欢的,提到了md这个人在1950年非常大胆的推出了这个专辑,男同学说这个专辑和md之前的曲风完全不一样,md曲风之前是比较复杂的,让人很难接近。但是kind of blue却很simple。说刚开始的时候人们对于这张专辑很失望甚至愤怒, 但是后来这个专辑却吸引了更多的人当爵士乐手。然后老师就说从这个例子能看出来什么。另一个女同学说这就是和s曲线相对应的,之前的爵士就是保守的老的,但是已经有一定市场。(大概是这样说的吧)md的kind of blue就是冒险然后以全新的方式进入了s曲线的新产品期,然后逐渐发展。
之后老师又提了一个问题,就是之前讲的是一个single performer的事情,但是男同学说并不是,爵士乐是一群人一起演奏的,还有钢琴什么的。然后老师说,好,那md是怎么把这些乐手结合起来的呢。男同学说,他首先跟每个人沟通他们的乐器,然后让他们自己发挥,但是把曲调固定在某一个调上(反正就是有个大方向),然后老师又详细解释了下这个。
另外男同学说爵士乐手之间是要相互配合的,比如有人进旋律进早了,其他人就会跟上调整,这样就听不出来错误了。老师说这就是business parellel什么的
后面两段听的不太好。
听写:
Last week we were talking about innovation in business. Remember the graph I showed you?
The curve that looks(looked) sort of like the letter S?
Right Cafii(Cathy), let’s take another look.
Do you recall, Cathy, how this S curve represents the life circle of innovation?
Sure, starting on the left, the new innovation, eh, let’s say it is a new product, almost nobody has heard of it or at least nobody takes it seriously.
Then its populary(popularity) increase, slowly at first, till sales really start celerating (accelerating) quickly
There was (They are where) the line goes up steeply in the middle as more and more people(去掉) get excited about the product and they go out and buy it
But eventually moving over to the right side there, interest begins to fade and the growth of(and) sales levels off
At which point the market has matured for that product
We can still sell it, and even marginally improve it. but it’s not new anymore.
It no longer offers exciting growth of(去掉) opportunities
So a business leader might face a choice, either stick with this old safe proven idea or move on to the next big idea, a fresh innovation.
But innovations are risky.
They may succeed or they may not.
OK, a case study.
George. I have heard your Thursday night program on the campus radio station. You like Jazz, right?
ah, yes,(Huh?! Uh…Yeah…) sure, but why….
OK, stay with me here.
On your program last week, I heard an old Miles Davis album. Tell us about that.
Uh, Miles Davis, champion(Trumpet), I played the(a) CD of jazz class(classic) he recorded at 1950s, called kind of blue
It’s my all time favorite jazz recording
Mine too. Would you call that recording innovative for its time?
Absolutely, nothing at all like what he had recorded up till then. I mean, before that Miles Davis played things so complex that… well… nobody could touch him. But this was something totally new. Some his plays(playing) sounded so amazingly simple.
And how did people react to this new song of Milles Davis.
Well, some were disappointed, even angry, that he’d abandoned his old style. But soon most of his fans came around and this new style appealed to a whole new group of jazz listeners
I guess so
Kind of blue became the most commercially successful album in the history of Jazz
So is there a lesson here anyone?
Think of that S curve I showed you.
Oh, so his old style of jazz was actually a kind of product, one it(that) has been developed pretty thoroughly.
And he has(had) taken it about as far as he could
So he decided to take a big risk and tried something totally new.
Exactly, something completely fresh and cool, and people couldn’t get enough of it.
It was a brand new beginning that left lots of room for further development artistically.
And as a market analyst, you could say that with kind of blue, he was jumping to the beginning of a brand new S curve. Without(With all) that potential for profitable development still ahead of him.
But let me ask you something else.
This isn’t just the music for a single performer, is it George?
Partly(Hardly), more like a group of all stars. Along with Mille Davis on Trumppy(trumpet)?(跟上一个一样) , there is Bill Evans on piano and John Taineron(Coltrane) on tenor saxophone.
Individually perhaps the best in the business.
But thinking of Milles Davis as the leader of this group, how did he organize and manage all these incredible talent.
Well, he’d lay out the general outline, the scene(theme), and then give each of these star performers ,one by one, the creative freedom to really show what they could do with it on their own instrument, to improvise and add something new, but always in(within) the same general scene(theme).
So Miles Davis gets credit for recruiting the best jazz talent anywhere, and getting them to collaborate on a fantastic musical product
Everyone see the business parallels here?
And giving(give) each of these musicians credit for seeing(seizing) the (this) opportunity and creating great individual performances, but good jazz is more than just outstanding individuals performances, isn’t it
Definitely, Jazz musicians need to listen to each other and go with the flow.
Like, one time somebody grooved (goofe) in(去掉)and came into (in) a littler early, but everyone else adjusted it(and went) right along with it, as there was(if) nothing were wrong.
And this mistake came out like just another unexpected creative potation(interpretation)
Thanks George, Great insights. Once (ones) that I was (would) certainly apply to what we study in here.
蓝色: 不认识的单词或不熟悉的单词或单词形式问题,单词问题
绿色: 听出来的,但是其实不熟悉的单词,单词问题
红色: 下划线的是没听到的,其他是听错的,语音识别问题
讲md管理和组织乐队那段真是听的不太好,脑子里反应不过来意思。 |
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