Learn Intonation, Stress, and Connected Speech with Taylor Swift

28,822 views ใƒป 2022-05-31

Accent's Way English with Hadar


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋ฒˆ์—ญ๋œ ์ž๋ง‰์€ ๊ธฐ๊ณ„ ๋ฒˆ์—ญ๋ฉ๋‹ˆ๋‹ค.

00:00
Hey everyone, it's Hadar.
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์—ฌ๋Ÿฌ๋ถ„ ํ•˜๋‹ค๋ฅด์ž…๋‹ˆ๋‹ค. ์ €์™€
00:01
Thank you so much for joining me.
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ํ•จ๊ป˜ ํ•ด์ฃผ์…”์„œ ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
00:02
Today we are going to practice and learn intonation, rhythm, stress,
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์˜ค๋Š˜ ์šฐ๋ฆฌ๋Š” Taylor Swift์™€ ํ•จ๊ป˜ ์–ต์–‘, ๋ฆฌ๋“ฌ, ๊ฐ•์„ธ,
00:07
connected speech, and a little bit of vocabulary with Taylor Swift.
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์—ฐ๊ฒฐ๋œ ๋ง, ์•ฝ๊ฐ„์˜ ์–ดํœ˜๋ฅผ ์—ฐ์Šตํ•˜๊ณ  ๋ฐฐ์šธ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
00:19
Recently Taylor Swift gave a commencement speech at NYU university.
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์ตœ๊ทผ Taylor Swift๋Š” NYU ๋Œ€ํ•™๊ต์—์„œ ์กธ์—…์‹ ์—ฐ์„ค์„ ํ–ˆ์Šต๋‹ˆ๋‹ค.
00:24
The speech is so awesome, I highly recommend for you to watch it.
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๋Œ€์‚ฌ๊ฐ€ ๋„ˆ๋ฌด ๋ฉ‹์ ธ์„œ ๊ผญ ๋ณด์‹œ๊ธธ ์ถ”์ฒœํ•ฉ๋‹ˆ๋‹ค.
00:27
It's not short, 20 minutes.
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์งง์€ ์‹œ๊ฐ„์ด ์•„๋‹ˆ๋ผ 20๋ถ„์ž…๋‹ˆ๋‹ค.
00:29
And you can easily find the script as well, I'm going to link to it below.
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์Šคํฌ๋ฆฝํŠธ๋„ ์‰ฝ๊ฒŒ ์ฐพ์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค . ์•„๋ž˜์— ๋งํฌํ•˜๊ฒ ์Šต๋‹ˆ๋‹ค.
00:34
But I also noticed that there are a lot of great things and nuances and
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๊ทธ๋Ÿฌ๋‚˜ ๋‚˜๋Š” ๋˜ํ•œ ์šฐ๋ฆฌ๊ฐ€
00:38
places where we can look at and talk about all the things that I mentioned,
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์–ธ๊ธ‰ํ•œ
00:44
like the pitch and the melody, the music, how we use stronger words or
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ํ”ผ์น˜์™€ ๋ฉœ๋กœ๋””, ์Œ์•…, ๋” ๊ฐ•ํ•œ ๋‹จ์–ด๋‚˜
00:49
more emphasized words versus how we reduce some words; and ultimately,
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๋” ๊ฐ•์กฐ๋œ ๋‹จ์–ด๋ฅผ ์‚ฌ์šฉํ•˜๋Š” ๋ฐฉ๋ฒ•๊ณผ ๊ฐ™์ด ๋‚ด๊ฐ€ ์–ธ๊ธ‰ํ•œ ๋ชจ๋“  ๊ฒƒ์„ ๋ณด๊ณ  ์ด์•ผ๊ธฐํ•  ์ˆ˜ ์žˆ๋Š” ํ›Œ๋ฅญํ•œ ๊ฒƒ๋“ค๊ณผ ๋‰˜์•™์Šค, ์žฅ์†Œ๊ฐ€ ๋งŽ๋‹ค๋Š” ๊ฒƒ์„ ์•Œ๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค. ์šฐ๋ฆฌ๊ฐ€ ์ผ๋ถ€ ๋‹จ์–ด๋ฅผ ์ค„์ด๋Š” ๋ฐฉ๋ฒ•์— ๋Œ€ํ•ด; ๊ถ๊ทน์ ์œผ๋กœ
00:53
what makes a good speech a good speech.
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์ข‹์€ ์—ฐ์„ค์„ ์ข‹์€ ์—ฐ์„ค๋กœ ๋งŒ๋“œ๋Š” ๊ฒƒ์€ ๋ฌด์—‡์ž…๋‹ˆ๊นŒ?
00:57
So, I've taken a few parts from the speech.
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๊ทธ๋ž˜์„œ ์—ฐ์„ค์—์„œ ๋ช‡ ๋ถ€๋ถ„์„ ๊ฐ€์ ธ ์™”์Šต๋‹ˆ๋‹ค.
01:00
I also created for you a PDF that's totally free, where I wrote the script
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๋˜ํ•œ ์™„์ „ํžˆ ๋ฌด๋ฃŒ์ธ PDF๋ฅผ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค . ์Šคํฌ๋ฆฝํŠธ๋ฅผ
01:05
phonetically, like how it sounds rather than how you write it, which
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์Œ์„ฑํ•™์ ์œผ๋กœ ์ž‘์„ฑํ–ˆ์Šต๋‹ˆ๋‹ค. ์ž‘์„ฑ ๋ฐฉ๋ฒ•๋ณด๋‹ค๋Š” ์†Œ๋ฆฌ๊ฐ€ ๋‚˜๋Š” ๋ฐฉ์‹๊ณผ ๊ฐ™์ด ๋น„๋””์˜ค์™€ ํ•จ๊ป˜ ์—ฐ์Šตํ• 
01:10
might be a little helpful for you as you're practicing along with the video.
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๋•Œ ์•ฝ๊ฐ„ ๋„์›€์ด ๋  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค .
01:15
So you can just click the link below, or somewhere here,
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๋”ฐ๋ผ์„œ ์•„๋ž˜ ๋งํฌ ๋˜๋Š” ์—ฌ๊ธฐ๋ฅผ ํด๋ฆญํ•˜์—ฌ
01:18
and download it right away.
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๋ฐ”๋กœ ๋‹ค์šด๋กœ๋“œํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
01:21
All right.
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01:21
So, let's get started with the first part.
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๊ดœ์ฐฎ์€.
์ด์ œ ์ฒซ ๋ฒˆ์งธ ๋ถ€๋ถ„๋ถ€ํ„ฐ ์‹œ์ž‘ํ•˜๊ฒ ์Šต๋‹ˆ๋‹ค.
01:24
"My experience has been that my mistakes led to the best things in my life."
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"๋‚ด ๊ฒฝํ—˜์€ ๋‚ด ์‹ค์ˆ˜๊ฐ€ ๋‚ด ์ธ์ƒ์—์„œ ์ตœ๊ณ ์˜ ์ผ๋กœ ์ด์–ด์กŒ๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค."
01:32
Well, this sentence comes right after when she talks about how, when she just started
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๊ธ€์Ž„, ์ด ๋ฌธ์žฅ์€ ๊ทธ๋…€๊ฐ€ ๋ง‰ ์‹œ์ž‘ํ–ˆ์„ ๋•Œ
01:37
out, everyone really warned her about making the wrong move and making mistakes.
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๋ชจ๋“  ์‚ฌ๋žŒ๋“ค์ด ๊ทธ๋…€์—๊ฒŒ ์ž˜๋ชป๋œ ํ–‰๋™๊ณผ ์‹ค์ˆ˜๋ฅผ ๊ฒฝ๊ณ ํ–ˆ๋‹ค๊ณ  ๋งํ•œ ์งํ›„์— ์˜ต๋‹ˆ๋‹ค.
01:43
Because the way she learned it, mistakes lead to failure.
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๊ทธ๋…€๊ฐ€ ๋ฐฐ์šด ๋ฐฉ์‹ ๋•Œ๋ฌธ์— ์‹ค์ˆ˜๋Š” ์‹คํŒจ๋กœ ์ด์–ด์ง‘๋‹ˆ๋‹ค.
01:47
Now, if you're not new to my channel, you know that I always talk about
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์ œ ์ฑ„๋„์ด ์ฒ˜์Œ์ด ์•„๋‹ˆ์‹œ๋ผ๋ฉด ์ œ๊ฐ€ ํ•ญ์ƒ ์‹ค์ˆ˜๋ฅผ ํ—ˆ์šฉํ•จ์œผ๋กœ์จ
01:52
finding freedom in English by giving yourself the permission to make mistakes.
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์˜์–ด๋กœ ์ž์œ ๋ฅผ ์ฐพ๋Š” ๊ฒƒ์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•œ๋‹ค๋Š” ๊ฒƒ์„ ์•Œ๊ณ  ๊ณ„์‹ค ๊ฒƒ์ž…๋‹ˆ๋‹ค .
01:56
Because mistakes is the only way to learn and reach freedom.
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์‹ค์ˆ˜๋Š” ๋ฐฐ์šฐ๊ณ  ์ž์œ ์— ๋„๋‹ฌํ•˜๋Š” ์œ ์ผํ•œ ๋ฐฉ๋ฒ•์ด๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
02:00
Mistakes is the currency you pay to finally get to the freedom or
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์‹ค์ˆ˜๋Š” ๋งˆ์นจ๋‚ด ์ž์œ ๋ฅผ ์–ป๊ฑฐ๋‚˜
02:05
get the freedom that you want.
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์›ํ•˜๋Š” ์ž์œ ๋ฅผ ์–ป๊ธฐ ์œ„ํ•ด ์ง€๋ถˆํ•˜๋Š” ํ†ตํ™”์ž…๋‹ˆ๋‹ค.
02:07
Which is why I really related to that part where she talked about it.
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๊ทธ๋ž˜์„œ ๊ทธ๋…€๊ฐ€ ๋งํ•œ ๋ถ€๋ถ„์— ์ •๋ง ๊ณต๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค .
02:12
And this is why she says "My experience".
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๊ทธ๋ฆฌ๊ณ  ์ด๊ฒƒ์ด ๊ทธ๋…€๊ฐ€ "๋‚ด ๊ฒฝํ—˜"์ด๋ผ๊ณ  ๋งํ•˜๋Š” ์ด์œ ์ž…๋‹ˆ๋‹ค.
02:15
So let's listen to it again.
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๊ทธ๋Ÿผ ๋‹ค์‹œ ๋“ค์–ด๋ด…์‹œ๋‹ค.
02:17
"This has not been my experience.
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"์ด๊ฒƒ์€ ๋‚ด ๊ฒฝํ—˜์ด ์•„๋‹™๋‹ˆ๋‹ค.
02:21
My experience has been".
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๋‚ด ๊ฒฝํ—˜์€"์ž…๋‹ˆ๋‹ค.
02:23
'My experience has been'.
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'๋‚ด ๊ฒฝํ—˜์€'์ด์—ˆ๋‹ค.
02:25
The sentence right before that she says 'This has not been my
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๊ทธ๋…€๊ฐ€ '์ด๊ฑด ๋‚ด
02:28
experience.' And now she stresses 'My experience has been' because she's
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๊ฒฝํ—˜์ด ์•„๋‹ˆ์•ผ'๋ผ๊ณ  ๋งํ•˜๊ธฐ ์ง์ „์˜ ๋ฌธ์žฅ. ๊ทธ๋ฆฌ๊ณ  ์ด์ œ ๊ทธ๋…€๋Š” '๋‚˜์˜ ๊ฒฝํ—˜์ด ์žˆ์—ˆ๋‹ค'๋ฅผ ๊ฐ•์กฐํ•ฉ๋‹ˆ๋‹ค. ์™œ๋ƒํ•˜๋ฉด ๊ทธ๋…€๋Š”
02:34
talking about this experience, my experience versus another experience.
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์ด ๊ฒฝํ—˜์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•˜๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค. ์ œ ๊ฒฝํ—˜๊ณผ ๋‹ค๋ฅธ ๊ฒฝํ—˜์„ ๋น„๊ตํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
02:39
'My experience has been'.
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'๋‚ด ๊ฒฝํ—˜์€'์ด์—ˆ๋‹ค.
02:42
Right?
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์˜ค๋ฅธ์ชฝ?
02:43
"That my mistakes led to the best things in my life."
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"๋‚ด ์‹ค์ˆ˜๊ฐ€ ๋‚ด ์ธ์ƒ ์ตœ๊ณ ์˜ ์ผ๋กœ ์ด์–ด์กŒ๋‹ค๋Š” ๊ฑธ."
02:49
'My mistakes led to the best things in my life.' Notice how she slows down
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'๋‚ด ์‹ค์ˆ˜๋Š” ๋‚ด ์ธ์ƒ์—์„œ ์ตœ๊ณ ์˜ ์ผ๋กœ ์ด์–ด์กŒ์Šต๋‹ˆ๋‹ค .'
02:55
when she says 'best' and she changes her voice a little bit to emphasize the word.
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๊ทธ๋…€๊ฐ€ '์ตœ๊ณ '๋ผ๊ณ  ๋งํ•  ๋•Œ ๊ทธ๋…€๊ฐ€ ์–ผ๋งˆ๋‚˜ ๋Š๋ ค์ง€๊ณ  ๋‹จ์–ด๋ฅผ ๊ฐ•์กฐํ•˜๊ธฐ ์œ„ํ•ด ๋ชฉ์†Œ๋ฆฌ๋ฅผ ์•ฝ๊ฐ„ ๋ฐ”๊พธ๋Š”์ง€ ์ฃผ๋ชฉํ•˜์„ธ์š”.
03:00
So, when you want to emphasize a part in your speech, you tend to
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๊ทธ๋ž˜์„œ ์—ฐ์„ค์—์„œ ์–ด๋–ค ๋ถ€๋ถ„์„ ๊ฐ•์กฐํ•˜๊ณ  ์‹ถ์„ ๋•Œ
03:04
do something slightly differently so that people pay attention.
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์‚ฌ๋žŒ๋“ค์ด ์ฃผ์˜๋ฅผ ๊ธฐ์šธ์ด๋„๋ก ์•ฝ๊ฐ„ ๋‹ค๋ฅด๊ฒŒ ํ•˜๋Š” ๊ฒฝํ–ฅ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
03:08
Now, in this case, 'best experience'.
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์ž, ์ด ๊ฒฝ์šฐ '์ตœ๊ณ ์˜ ๊ฒฝํ—˜'์ž…๋‹ˆ๋‹ค.
03:11
She changes her voice a little bit and she says it really slowly.
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๊ทธ๋…€๋Š” ๋ชฉ์†Œ๋ฆฌ๋ฅผ ์•ฝ๊ฐ„ ๋ฐ”๊พธ์—ˆ๊ณ  ์•„์ฃผ ์ฒœ์ฒœํžˆ ๋งํ•ฉ๋‹ˆ๋‹ค.
03:16
So slowing down is a way for you to emphasize words in English.
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๋”ฐ๋ผ์„œ ์†๋„๋ฅผ ๋Šฆ์ถ”๋Š” ๊ฒƒ์€ ์˜์–ด ๋‹จ์–ด๋ฅผ ๊ฐ•์กฐํ•˜๋Š” ๋ฐฉ๋ฒ•์ž…๋‹ˆ๋‹ค.
03:21
"And being embarrassed when you mess up, it's part of the human experience".
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"๊ทธ๋ฆฌ๊ณ  ์—‰๋ง์ด ๋  ๋•Œ ๋ถ€๋„๋Ÿฌ์›Œํ•˜๋Š” ๊ฒƒ์€ ์ธ๊ฐ„ ๊ฒฝํ—˜์˜ ์ผ๋ถ€์ž…๋‹ˆ๋‹ค."
03:26
'And being embarrassed when you mess up'.
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'๊ทธ๋ฆฌ๊ณ  ์—‰๋ง์ด ๋  ๋•Œ ๋ถ€๋„๋Ÿฝ๋‹ค'.
03:28
Notice how she goes high in pitch.
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๊ทธ๋…€๊ฐ€ ์Œ๋†’์ด๋ฅผ ๋†’์ด๋Š” ๋ฐฉ๋ฒ•์— ์ฃผ๋ชฉํ•˜์‹ญ์‹œ์˜ค.
03:30
'And being embarrassed when you mess up.' It's like a comment,
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'๊ทธ๋ฆฌ๊ณ  ์—‰๋ง์ด ๋  ๋•Œ ์ฐฝํ”ผํ•ด .' ๊ทธ๊ฒƒ์€ ๋Œ“๊ธ€๊ณผ ๊ฐ™
03:34
or she's starting a new idea.
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๊ฑฐ๋‚˜ ๊ทธ๋…€๊ฐ€ ์ƒˆ๋กœ์šด ์•„์ด๋””์–ด๋ฅผ ์‹œ์ž‘ํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
03:36
And this is usually what happens to your voice when you start a new idea, right?
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๊ทธ๋ฆฌ๊ณ  ์ด๊ฒƒ์€ ์ผ๋ฐ˜์ ์œผ๋กœ ์ƒˆ๋กœ์šด ์•„์ด๋””์–ด๋ฅผ ์‹œ์ž‘ํ•  ๋•Œ ๋‹น์‹ ์˜ ๋ชฉ์†Œ๋ฆฌ์— ์ผ์–ด๋‚˜๋Š” ์ผ์ž…๋‹ˆ๋‹ค, ๊ทธ๋ ‡์ฃ ?
03:40
I call it the pitch wave that happens at the beginning.
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๋‚˜๋Š” ๊ทธ๊ฒƒ์„ ์ดˆ๊ธฐ์— ๋ฐœ์ƒํ•˜๋Š” ํ”ผ์น˜ ์›จ์ด๋ธŒ๋ผ๊ณ  ๋ถ€๋ฆ…๋‹ˆ๋‹ค.
03:44
'And being embarrassed when you mess up'.
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'๊ทธ๋ฆฌ๊ณ  ์—‰๋ง์ด ๋  ๋•Œ ๋ถ€๋„๋Ÿฝ๋‹ค'.
03:46
Now, let's talk about the phrase 'mess up'.
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์ด์ œ '๋งํ•˜๋‹ค'๋ผ๋Š” ํ‘œํ˜„์— ๋Œ€ํ•ด ์•Œ์•„๋ณด๊ฒ ์Šต๋‹ˆ๋‹ค.
03:48
'Mess up' is a phrasal verb.
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'๋ฉ”์Šค ์—…'์€ ๊ตฌ๋™์‚ฌ์ž…๋‹ˆ๋‹ค.
03:49
And notice how she pronounces it: 'me-sup'.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๋…€๊ฐ€ ์–ด๋–ป๊ฒŒ ๋ฐœ์Œํ•˜๋Š”์ง€ ์ฃผ๋ชฉํ•˜์„ธ์š”: 'me-sup'.
03:54
So, the stress falls on the word 'up', but here we see the connected speech.
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๊ทธ๋ž˜์„œ 'up'์ด๋ผ๋Š” ๋‹จ์–ด์— ๊ฐ•์„ธ๋ฅผ ๋‘์ง€ ๋งŒ ์—ฌ๊ธฐ์„œ๋Š” ์—ฐ๊ฒฐ๋œ ๋ง์„ ๋ด…๋‹ˆ๋‹ค.
03:58
The S of the word 'mess' becomes the beginning of the
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'mess'๋ผ๋Š” ๋‹จ์–ด์˜ S๋Š”
04:02
next syllable, which is 'up'.
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๋‹ค์Œ ์Œ์ ˆ์ธ 'up'์˜ ์‹œ์ž‘์ด ๋ฉ๋‹ˆ๋‹ค.
04:06
And then that's what we hear - 'me-sup'.
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๊ฐ€ ๋“ฃ๋Š” ๊ฒƒ์€ 'me-sup'์ž…๋‹ˆ๋‹ค.
04:09
'Being embarrassed when you mess up, it's part of the human experience'.
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'๋ง์ณค์„ ๋•Œ ๋ถ€๋„๋Ÿฌ์›Œํ•˜๋Š” ๊ฒƒ์€ ์ธ๊ฐ„ ๊ฒฝํ—˜์˜ ์ผ๋ถ€์ž…๋‹ˆ๋‹ค.'
04:13
Right?
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04:13
'It's part of the human experience'.
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์˜ค๋ฅธ์ชฝ?
'๊ทธ๊ฒƒ์€ ์ธ๊ฐ„ ๊ฒฝํ—˜์˜ ์ผ๋ถ€์ž…๋‹ˆ๋‹ค'.
04:15
Now again, listen to the melody.
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์ด์ œ ๋‹ค์‹œ ๋ฉœ๋กœ๋””๋ฅผ ๋“ค์–ด๋ณด์„ธ์š”.
04:22
So, we really hear how she plays with her pitch, even though that's not what we
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๋Š” ๊ทธ๋…€๊ฐ€ ๊ทธ๋…€์˜ ํ”ผ์น˜๋กœ ์—ฐ์ฃผํ•˜๋Š” ๊ฒƒ์„ ์ •๋ง๋กœ ๋“ฃ์Šต๋‹ˆ๋‹ค .
04:26
hear throughout the entire speech, right?
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์ „์ฒด ์—ฐ์„ค์—์„œ ์šฐ๋ฆฌ๊ฐ€ ๋“ฃ๋Š” ๊ฒƒ์€ ์•„๋‹ˆ์ง€๋งŒ ๋งž์Šต๋‹ˆ๊นŒ?
04:28
But there are parts where the pitch changes, the melody changes.
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๊ทธ๋Ÿฐ๋ฐ ํ”ผ์น˜๊ฐ€ ๋ฐ”๋€Œ๋Š” ๋ถ€๋ถ„์ด ์žˆ๊ณ , ๋ฉœ๋กœ๋””๊ฐ€ ๋ฐ”๋€Œ๋Š” ๋ถ€๋ถ„์ด ์žˆ์–ด์š”.
04:32
And I really encourage you to listen to the entire speech.
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๊ทธ๋ฆฌ๊ณ  ์—ฐ์„ค ์ „์ฒด๋ฅผ ๋“ค์œผ์‹œ๊ธฐ ๋ฐ”๋ž๋‹ˆ๋‹ค.
04:35
And pay attention to when it changes and try to guess why it changes, why now.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๊ฒƒ์ด ์–ธ์ œ ๋ณ€ํ•˜๋Š”์ง€์— ์ฃผ์˜๋ฅผ ๊ธฐ์šธ์ด๊ณ  ๊ทธ๊ฒƒ์ด ์™œ ๋ณ€ํ•˜๋Š”์ง€, ์™œ ์ง€๊ธˆ ๋ณ€ํ•˜๋Š”์ง€ ์ถ”์ธกํ•˜๋ ค๊ณ  ๋…ธ๋ ฅํ•˜์‹ญ์‹œ์˜ค.
04:41
And changing the pitch - it's kind of like keeping you on your guard so
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๊ทธ๋ฆฌ๊ณ  ์Œ๋†’์ด๋ฅผ ๋ฐ”๊พธ๋Š” ๊ฒƒ -
04:47
that it's not repetitive, it's not the same - is what makes it interesting.
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๋ฐ˜๋ณต์ ์ด์ง€ ์•Š๊ณ  ๋™์ผํ•˜์ง€ ์•Š๋„๋ก ๊ฒฝ๊ณ„๋ฅผ ๋Šฆ์ถ”์ง€ ์•Š๋Š” ๊ฒƒ๊ณผ ๊ฐ™์Šต๋‹ˆ๋‹ค - ์ด ๊ฒŒ์ž„์„ ํฅ๋ฏธ๋กญ๊ฒŒ ๋งŒ๋“œ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:52
"Getting back up, dusting yourself off".
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"์ผ์–ด๋‚˜ ๋จผ์ง€ ํ„ธ๊ณ ".
04:55
'Getting back up'.
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'๋‹ค์‹œ ์ผ์–ด๋‚˜๊ธฐ'.
04:56
Notice again the connected speech: 'getting back', A as in 'cat', up.
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์—ฐ๊ฒฐ๋œ ๋ง์„ ๋‹ค์‹œ ์ฃผ๋ชฉํ•˜์„ธ์š” .
05:02
Right?
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05:02
But the K of 'back' becomes the beginning of the word 'up': 'getting ba-kup'.
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์˜ค๋ฅธ์ชฝ?
๊ทธ๋Ÿฌ๋‚˜ 'back'์˜ K๋Š” 'up'์˜ ์‹œ์ž‘์ด ๋ฉ๋‹ˆ๋‹ค: 'getting ba-kup'.
05:07
"Getting back up, dusting yourself off".
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"์ผ์–ด๋‚˜ ๋จผ์ง€ ํ„ธ๊ณ ".
05:11
'Dusting yourself off'.
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'๋จผ์ง€ ํ„ธ์–ด๋‚ด๊ธฐ'.
05:13
Another phrasal verb - 'dusting off'.
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๋˜ ๋‹ค๋ฅธ ๊ตฌ๋™์‚ฌ - 'dusting off'.
05:15
'Dusting yourself off'.
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'๋จผ์ง€ ํ„ธ์–ด๋‚ด๊ธฐ'.
05:17
Now, see how this entire phrase, if you want to visualize it, you
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์ด์ œ ์ด ์ „์ฒด ๋ฌธ๊ตฌ๋ฅผ ์‹œ๊ฐํ™”ํ•˜๊ณ  ์‹ถ๋‹ค๋ฉด
05:21
want to think about it as if it's a phrase within two commas, a clause.
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๋‘ ๊ฐœ์˜ ์‰ผํ‘œ, ์ ˆ ์•ˆ์— ์žˆ๋Š” ๋ฌธ๊ตฌ์ธ ๊ฒƒ์ฒ˜๋Ÿผ ์ƒ๊ฐํ•˜๊ณ  ์‹ถ์„ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
05:26
'Dusting yourself off'.
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'๋จผ์ง€ ํ„ธ์–ด๋‚ด๊ธฐ'.
05:27
It feels like it's one phrase.
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ํ•œ ๋ฌธ์žฅ์œผ๋กœ ๋Š๊ปด์ง‘๋‹ˆ๋‹ค.
05:29
You want to connect it, you don't want to separate the words inside
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๋‹น์‹ ์€ ๊ทธ๊ฒƒ์„ ์—ฐ๊ฒฐํ•˜๊ณ  ์‹ถ๊ณ ,
05:32
this phrase: 'dusting-yourself-off'.
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'dusting-yourself-off'๋ผ๋Š” ๋ฌธ๊ตฌ ์•ˆ์˜ ๋‹จ์–ด๋ฅผ ๋ถ„๋ฆฌํ•˜๊ณ  ์‹ถ์ง€ ์•Š์Šต๋‹ˆ๋‹ค. ๊ทธ ๋ฌธ๊ตฌ๋ฅผ ๋งํ• 
05:35
Keep your voice going as you are saying that phrase.
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๋•Œ ๋ชฉ์†Œ๋ฆฌ๋ฅผ ๊ณ„์† ์œ ์ง€ํ•˜์‹ญ์‹œ์˜ค .
05:38
"And seeing who still wants to hang out with you afterward and laugh about it".
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"๊ทธ๋ฆฌ๊ณ  ๋‚˜์ค‘์— ๋‹น์‹ ๊ณผ ์–ด์šธ๋ฆฌ๊ณ  ๊ทธ๊ฒƒ์— ๋Œ€ํ•ด ์›ƒ๊ณ  ์‹ถ์–ดํ•˜๋Š” ์‚ฌ๋žŒ์„ ๋ด…๋‹ˆ๋‹ค."
05:42
'And seeing who wants to hang out with you'.
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'๊ทธ๋ฆฌ๊ณ  ๋‹น์‹ ๊ณผ ์–ด์šธ๋ฆฌ๊ณ  ์‹ถ์–ดํ•˜๋Š” ์‚ฌ๋žŒ์„๋ณด๊ณ '.
05:44
'hang out with you'.
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'๋„ˆ์™€ ์–ด์šธ๋ ค'.
05:45
'Hang out' - another phrasal verb.
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'Hang out' - ๋˜ ๋‹ค๋ฅธ ๊ตฌ๋™์‚ฌ.
05:48
Hang out.
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๋†€๋‹ค.
05:49
Now notice that she doesn't pop the G sound cause there isn't,
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์ด์ œ ๊ทธ๋…€๊ฐ€ G ์†Œ๋ฆฌ๋ฅผ ๋‚ด์ง€ ์•Š๋Š” ์ด์œ ๋Š”
05:54
it's an NG sound: hang out.
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NG ์†Œ๋ฆฌ์ด๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
05:57
But the NG sound becomes the beginning of the word 'out': 'ha-ngout'.
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ํ•˜์ง€๋งŒ NG ์†Œ๋ฆฌ๋Š” 'out': 'h-ngout'์ด๋ผ๋Š” ๋‹จ์–ด์˜ ์‹œ์ž‘์ด ๋ฉ๋‹ˆ๋‹ค.
06:02
'And seeing who wants to hang out with you afterward and laugh about it'.
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'๊ทธ๋ฆฌ๊ณ  ๋‚˜์ค‘์— ๋‹น์‹ ๊ณผ ์–ด์šธ๋ฆฌ๊ณ  ์‹ถ์–ดํ•˜๋Š” ์‚ฌ๋žŒ์„๋ณด๊ณ  ๊ทธ๊ฒƒ์— ๋Œ€ํ•ด ์›ƒ๊ณ '. ์—ฌ๊ธฐ์—์„œ
06:08
Notice how we connect the words here: an'-laugh abou-dit.
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๋‹จ์–ด๋ฅผ ์–ด๋–ป๊ฒŒ ์—ฐ๊ฒฐํ•˜๋Š”์ง€ ์ฃผ๋ชฉํ•˜์‹ญ์‹œ์˜ค : an'-laugh abou-dit.
06:15
We have a flap T.
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์šฐ๋ฆฌ๋Š” ํ”Œ๋žฉ T๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
06:16
When the T is between two vowels, it becomes a flap T,
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T๊ฐ€ ๋‘ ๋ชจ์Œ ์‚ฌ์ด์— ์žˆ์„ ๋•Œ ํ”Œ๋žฉ T๊ฐ€ ๋˜๋ฏ€๋กœ
06:19
so it sounds closer to a D.
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D์— ๊ฐ€๊น๊ฒŒ ๋“ค๋ฆฝ๋‹ˆ๋‹ค.
06:20
'And laugh about it'.
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'๊ทธ๋ฆฌ๊ณ  ์›ƒ์–ด์š”'.
06:22
And notice what happens to the pitch.
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๊ทธ๋ฆฌ๊ณ  ํ”ผ์น˜์— ์–ด๋–ค ์ผ์ด ์ผ์–ด๋‚˜๋Š”์ง€ ์ฃผ๋ชฉํ•˜์‹ญ์‹œ์˜ค.
06:24
It goes up.
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์˜ฌ๋ผ๊ฐ„๋‹ค.
06:26
'And laugh about it', right?
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'๊ทธ๋ฆฌ๊ณ  ๊ทธ๊ฒƒ์— ๋Œ€ํ•ด ์›ƒ์œผ์„ธ์š”', ๋งž์ฃ ?
06:29
When that happens, it means that something else is coming up.
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๊ทธ๋Ÿฐ ์ผ์ด ๋ฐœ์ƒํ•˜๋ฉด ๋‹ค๋ฅธ ์ผ์ด ์ผ์–ด๋‚˜๊ณ  ์žˆ์Œ์„ ์˜๋ฏธํ•ฉ๋‹ˆ๋‹ค.
06:33
Right?
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์˜ค๋ฅธ์ชฝ?
06:34
She hasn't closed the idea.
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๊ทธ๋…€๋Š” ์•„์ด๋””์–ด๋ฅผ ๋‹ซ์ง€ ์•Š์•˜์Šต๋‹ˆ๋‹ค.
06:36
"That's a gift."
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"๊ทธ๊ฑฐ ์„ ๋ฌผ์ด์•ผ."
06:38
Now she did.
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์ด์ œ ๊ทธ๋…€๋Š” ๊ทธ๋žฌ์Šต๋‹ˆ๋‹ค.
06:39
'That's a gift'.
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'์„ ๋ฌผ์ด์•ผ'.
06:40
'That's a gift'.
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'์„ ๋ฌผ์ด์•ผ'.
06:41
'tha-tsa-gift' - connected speech.
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'tha-tsa-gift' - ์—ฐ๊ฒฐ๋œ ์Œ์„ฑ.
06:44
'tha-tsa-gift'.
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'๊ทธ-์ฐจ-์„ ๋ฌผ'.
06:47
'That's a gift'.
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'์„ ๋ฌผ์ด์•ผ'.
06:48
And the pitch goes from high to low.
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๊ทธ๋ฆฌ๊ณ  ํ”ผ์น˜๋Š” ๋†’์€ ๊ณณ์—์„œ ๋‚ฎ์€ ๊ณณ์œผ๋กœ ์ด๋™ํ•ฉ๋‹ˆ๋‹ค.
06:51
That means, I ended the thought.
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์ฆ‰, ๋‚˜๋Š” ์ƒ๊ฐ์„ ๋๋ƒˆ์Šต๋‹ˆ๋‹ค.
06:54
All right.
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06:54
Let's move on to another part of the speech, where we can look at
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๊ดœ์ฐฎ์€. ์—ฐ์„ค
์˜ ๋‹ค๋ฅธ ๋ถ€๋ถ„์œผ๋กœ ๋„˜์–ด๊ฐ€์„œ
06:59
the connected speech and her pitch.
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์—ฐ๊ฒฐ๋œ ์—ฐ์„ค๊ณผ ๊ทธ๋…€์˜ ์Œ๋†’์ด๋ฅผ ์‚ดํŽด๋ณด๊ฒ ์Šต๋‹ˆ๋‹ค.
07:02
"How will you know".
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"์–ด๋–ป๊ฒŒ ์•Œ๊ฒ ์Šต๋‹ˆ๊นŒ?"
07:04
What did she just say?
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๋ฐฉ๊ธˆ ๋ญ๋ผ๊ณ  ํ–ˆ์–ด?
07:07
'How will you know', right?
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'์–ด๋–ป๊ฒŒ ์•Œ๊ฒ ์–ด' ๋งž์ฃ ?
07:11
An entire phrase 'how will you know' is pronounced as if it's
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'how will you know'๋ผ๋Š” ๊ตฌ ์ „์ฒด๊ฐ€ ๋งˆ์น˜ ํ•œ
07:15
one word: ha-w'l-you-know.
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๋‹จ์–ด์ธ ๊ฒƒ์ฒ˜๋Ÿผ ๋ฐœ์Œ๋ฉ๋‹ˆ๋‹ค: ha-w'l-you-know.
07:22
Right?
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์˜ค๋ฅธ์ชฝ? ํ•˜
07:23
ha-w'l-you-know.
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-์•Œ-์•Œ-์•Œ์•˜์–ด.
07:27
"what the right choice is" 'How will you know', right?
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"์˜ฌ๋ฐ”๋ฅธ ์„ ํƒ์ด ๋ญ”์ง€" ' ์–ด๋–ป๊ฒŒ ์•Œ๊ฒ ์–ด' ๋งž์ฃ ?
07:31
Notice that I'm kinda like lifting up, something else is coming up.
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๋‚ด๊ฐ€ ๋“ค์–ด์˜ฌ๋ฆฌ๋Š” ๊ฒƒ ๊ฐ™์€ ๋Š๋‚Œ์ด ๋“ ๋‹ค๋Š” ๊ฒƒ์„ ์•Œ์•„์ฐจ๋ฆฌ์„ธ์š” . ๋ญ”๊ฐ€ ๋‹ค๋ฅธ ๊ฒƒ์ด ์˜ฌ๋ผ์˜ค๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
07:35
'what the right choice is in these crucial moments'.
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' ์ด ๊ฒฐ์ •์ ์ธ ์ˆœ๊ฐ„์— ์˜ฌ๋ฐ”๋ฅธ ์„ ํƒ์€ ๋ฌด์—‡์ธ๊ฐ€'.
07:39
Notice how it ends as if it's the end of the sentence, even though it's a question.
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๊ทธ๊ฒƒ์ด ์งˆ๋ฌธ์ž„์—๋„ ๋ถˆ๊ตฌํ•˜๊ณ  ๋ฌธ์žฅ์˜ ๋์ธ ๊ฒƒ์ฒ˜๋Ÿผ ์–ด๋–ป๊ฒŒ ๋๋‚˜๋Š”์ง€์— ์ฃผ๋ชฉํ•˜์‹ญ์‹œ์˜ค .
07:43
Because when we ask a question that requires more than just a
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07:46
simple 'yes' or 'no', it does sound like a statement, right?
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๋‹จ์ˆœํ•œ '์˜ˆ' ๋˜๋Š” '์•„๋‹ˆ์˜ค' ์ด์ƒ์˜ ๊ฒƒ์„ ์š”๊ตฌํ•˜๋Š” ์งˆ๋ฌธ์„ ํ•  ๋•Œ ์ง„์ˆ ์ฒ˜๋Ÿผ ๋“ค๋ฆฌ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
07:50
It does sound like I'm ending it.
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๋‚ด๊ฐ€ ๋๋‚ด๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ๋“ค๋ฆฐ๋‹ค.
07:51
Rising-falling intonation, the pitch falls at the end.
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์ƒ์Šน ํ•˜๊ฐ• ์ธํ† ๋„ค์ด์…˜, ํ”ผ์น˜๋Š” ๋์— ๋–จ์–ด์ง‘๋‹ˆ๋‹ค.
07:55
'In these crucial moments'.
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'๊ฒฐ์ •์ ์ธ ์ˆœ๊ฐ„์—'.
07:57
So let's practice it again.
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๊ทธ๋Ÿผ ๋‹ค์‹œ ์—ฐ์Šตํ•ด ๋ด…์‹œ๋‹ค.
07:59
'How will you know what the right choice is in these crucial moments?'
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' ์ด ์ค‘์š”ํ•œ ์ˆœ๊ฐ„์— ์˜ฌ๋ฐ”๋ฅธ ์„ ํƒ์ด ๋ฌด์—‡์ธ์ง€ ์–ด๋–ป๊ฒŒ ์•Œ ์ˆ˜ ์žˆ์Šต๋‹ˆ๊นŒ?'
08:07
And the answer is: "You won't".
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๋Œ€๋‹ต์€ "๋‹น์‹ ์€ ํ•˜์ง€ ์•Š์„ ๊ฒƒ์ž…๋‹ˆ๋‹ค"์ž…๋‹ˆ๋‹ค.
08:10
'You won't'.
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'ํ•˜์ง€ ์•Š์„๊ฑฐ์•ผ'.
08:12
'You won't'.
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'ํ•˜์ง€ ์•Š์„๊ฑฐ์•ผ'.
08:13
Period.
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08:13
Ta-DA, right?
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๊ธฐ๊ฐ„.
๋”ฐ๋‹ค, ๊ทธ๋ ‡์ง€?
08:15
There is a lot of certainty here.
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์—ฌ๊ธฐ์—๋Š” ๋งŽ์€ ํ™•์‹ ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
08:18
If she were to say it like 'you won't?', it makes it a little less powerful.
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๊ทธ๋…€๊ฐ€ '์•ˆ ํ• ๊ฑฐ์•ผ?'๋ผ๊ณ  ๋งํ•˜๋ฉด ์กฐ๊ธˆ ๋œ ๊ฐ•๋ ฅํ•ด์ง‘๋‹ˆ๋‹ค.
08:24
Right?
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08:24
'You won't'.
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์˜ค๋ฅธ์ชฝ?
'ํ•˜์ง€ ์•Š์„๊ฑฐ์•ผ'.
08:25
This is the beauty of the rising-falling pitch that fits in
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์ด๊ฒƒ์€
08:29
certain situations, like in this one.
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์ด์™€ ๊ฐ™์€ ํŠน์ • ์ƒํ™ฉ์— ๋งž๋Š” ์ƒ์Šน ํ•˜๊ฐ• ํ”ผ์น˜์˜ ์•„๋ฆ„๋‹ค์›€์ž…๋‹ˆ๋‹ค.
08:32
The 'won't' is a long O as in 'go', 'you won't'.
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'wo n't'๋Š” 'go', 'you won't'์—์„œ์™€ ๊ฐ™์ด ๊ธด O์ž…๋‹ˆ๋‹ค.
08:35
And even though we don't hear the T very clearly, it is there.
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๊ฐ€ T๋ฅผ ์•„์ฃผ ๋ช…ํ™•ํ•˜๊ฒŒ ๋“ฃ์ง€ ๋ชปํ•˜๋”๋ผ๋„ ๊ทธ๊ฒƒ์€ ๊ฑฐ๊ธฐ์— ์žˆ์Šต๋‹ˆ๋‹ค.
08:40
All right.
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08:40
Let's look at the last part.
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๊ดœ์ฐฎ์€.
๋งˆ์ง€๋ง‰ ๋ถ€๋ถ„์„ ๋ณด๊ฒ ์Šต๋‹ˆ๋‹ค.
08:42
"We are led by our gut instincts, our intuition".
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"์šฐ๋ฆฌ๋Š” ์ง๊ฐ, ์ง๊ด€์— ์˜ํ•ด ์ธ๋„๋ฉ๋‹ˆ๋‹ค ."
08:46
'We are led by our gut instincts'.
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'์šฐ๋ฆฌ๋Š” ์ง๊ฐ์— ์ด๋Œ๋ฆฐ๋‹ค'.
08:49
Right?
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์˜ค๋ฅธ์ชฝ?
08:50
So, 'gut instincts' is a phrase that you want to put together: 'gut
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๊ทธ๋ž˜์„œ 'gut ๋ณธ๋Šฅ'์€ 'gut
08:54
instincts', stress on 'instincts'.
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๋ณธ๋Šฅ', 'instincts'์— ๋Œ€ํ•œ ๊ฐ•์กฐ์™€ ๊ฐ™์ด ์กฐํ•ฉํ•˜๊ณ  ์‹ถ์€ ๋ฌธ๊ตฌ์ž…๋‹ˆ๋‹ค.
08:56
'We are led', comma, the phrase before that is totally connected.
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'We are led', ์‰ผํ‘œ, ๊ทธ ์•ž์˜ ๋ฌธ๊ตฌ๋Š” ์™„์ „ํžˆ ์—ฐ๊ฒฐ๋˜์–ด ์žˆ์Šต๋‹ˆ๋‹ค.
09:00
'We are led'.
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'์šฐ๋ฆฌ๋Š” ์ธ๋„๋œ๋‹ค'.
09:02
'We are led' - stress on 'led' - 'by our gut instincts'.
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'์šฐ๋ฆฌ๋Š” ์ธ๋„๋œ๋‹ค' - ' ์ฃผ๋„๋œ๋‹ค'์— ๋Œ€ํ•œ ๊ฐ•์กฐ - '์šฐ๋ฆฌ์˜ ์ง๊ฐ์— ์˜ํ•ด'.
09:07
Right?
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์˜ค๋ฅธ์ชฝ?
09:08
And 'by our' is connected, is reduced because that's the less important
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๊ทธ๋ฆฌ๊ณ  'by our'๋Š” ์—ฐ๊ฒฐ๋˜๊ณ  ์ถ•์†Œ๋ฉ๋‹ˆ๋‹ค. ๋œ ์ค‘์š”ํ•œ
09:13
part: 'by ar gut instincts'.
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๋ถ€๋ถ„์ธ 'argut ๋ณธ๋Šฅ์— ์˜ํ•ด'์ด๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
09:17
'Or intuition'.
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'๋˜๋Š” ์ง๊ฐ'.
09:18
"We are led by our gut instincts, our intuition, our desires and
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"์šฐ๋ฆฌ๋Š” ์ง๊ฐ, ์ง๊ฐ, ์š•๋ง๊ณผ
09:24
fears, our scars and our dreams."
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๋‘๋ ค์›€, ์ƒ์ฒ˜์™€ ๊ฟˆ์— ์ด๋Œ๋ฆฝ๋‹ˆ๋‹ค."
09:27
'our desires and fears, our scars and our dreams'.
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'์šฐ๋ฆฌ์˜ ์š•๋ง๊ณผ ๋‘๋ ค์›€, ์šฐ๋ฆฌ์˜ ์ƒ์ฒ˜์™€ ๊ฟˆ'.
09:32
Now, I actually want you to pay attention to the reduced words,
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์ž, ์ €๋Š” ์‹ค์ œ๋กœ ์ถ•์†Œ๋œ ๋‹จ์–ด,
09:35
to the function words: ar desires an'-fears, ar scars an'-ar dreams.
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๊ธฐ๋Šฅ์–ด์— ์ฃผ์˜๋ฅผ ๊ธฐ์šธ์ด์‹œ๊ธฐ ๋ฐ”๋ž๋‹ˆ๋‹ค. ar desires an'-fears, ar scars an'-ar dreams.
09:42
'Our desires' - 'ar desires', right?
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'์šฐ๋ฆฌ์˜ ์š•๋ง' - 'ar ์š•๋ง' ๋งž์ฃ ?
09:44
So the word 'our' reduces to 'ar'.
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๊ทธ๋ž˜์„œ 'our'๋ผ๋Š” ๋‹จ์–ด๋Š” 'ar'๋กœ ์ค„์–ด๋“ญ๋‹ˆ๋‹ค.
09:47
Sounds like the word 'are' or the letter R.
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'are'๋ผ๋Š” ๋‹จ์–ด๋‚˜ ๋ฌธ์ž R์ฒ˜๋Ÿผ ๋“ค๋ฆฝ๋‹ˆ๋‹ค.
09:50
'ar desires' - low-high - an'-fears.
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'ar desires' - ๋‚ฎ์Œ-๋†’์Œ - an'-๋‘๋ ค์›€.
09:55
'and' reduces to 'an'- an'-fears.
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'๊ทธ๋ฆฌ๊ณ '๋Š” '์•ˆ'-์•ˆ'-๋‘๋ ค์›€์œผ๋กœ ์ถ•์†Œ๋ฉ๋‹ˆ๋‹ค.
09:58
'ar scars': 'our' is reduced again.
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'ar scars': 'our'๊ฐ€ ๋‹ค์‹œ ์ค„์–ด๋“ญ๋‹ˆ๋‹ค.
10:01
an'-ar dreams.
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์•ˆ-์•„๋ฅด ๊ฟˆ.
10:02
an'-ar - reduced, right?
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an'-ar - ์ถ•์†Œ, ๋งž์ฃ ?
10:05
And by reducing those small words, those less important words, those function
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์ž‘์€ ๋‹จ์–ด, ๋œ ์ค‘์š”ํ•œ ๋‹จ์–ด, ๊ธฐ๋Šฅ ๋‹จ์–ด๋ฅผ ์ค„์ž„์œผ๋กœ์จ
10:10
words, we allow the important words to stick out: desires, fears, scars, dreams.
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์š•๋ง, ๋‘๋ ค์›€, ํ‰ํ„ฐ, ๊ฟˆ๊ณผ ๊ฐ™์€ ์ค‘์š”ํ•œ ๋‹จ์–ด๊ฐ€ ๋ˆˆ์— ๋„๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
10:18
And notice when she hits each one of those stressed words - it hits a different
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๋…€๊ฐ€ ๊ฐ•์กฐ๋œ ๊ฐ ๋‹จ์–ด๋ฅผ ์น  ๋•Œ ์ฃผ๋ชฉํ•˜์‹ญ์‹œ์˜ค. ๊ทธ๊ฒƒ์€
10:22
note: desires, fears, scars, dreams.
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์š•๋ง, ๋‘๋ ค์›€, ์ƒ์ฒ˜, ๊ฟˆ๊ณผ ๊ฐ™์€ ๋‹ค๋ฅธ ์Œํ‘œ๋ฅผ ์นฉ๋‹ˆ๋‹ค.
10:27
Otherwise it would feel redundant or repetitive or monotone.
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๊ทธ๋ ‡์ง€ ์•Š์œผ๋ฉด ์ค‘๋ณต๋˜๊ฑฐ๋‚˜ ๋ฐ˜๋ณต์ ์ด๊ฑฐ๋‚˜ ๋‹จ์กฐ๋กญ๊ฒŒ ๋Š๊ปด์งˆ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
10:32
And that's what makes it interesting, and almost like music.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๊ฒƒ์€ ๊ทธ๊ฒƒ์„ ํฅ๋ฏธ๋กญ๊ฒŒ ๋งŒ๋“ค๊ณ  ๊ฑฐ์˜ ์Œ์•…๊ณผ ๊ฐ™์Šต๋‹ˆ๋‹ค.
10:36
And you don't have to be Taylor Swift, or any singer, to be able to do that.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๋ ‡๊ฒŒ ํ•˜๊ธฐ ์œ„ํ•ด Taylor Swift๋‚˜ ๊ฐ€์ˆ˜๊ฐ€ ๋  ํ•„์š”๋Š” ์—†์Šต๋‹ˆ๋‹ค.
10:41
We use pitch all the time with our voice.
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์šฐ๋ฆฌ๋Š” ๋ชฉ์†Œ๋ฆฌ๋กœ ํ•ญ์ƒ ํ”ผ์น˜๋ฅผ ์‚ฌ์šฉํ•ฉ๋‹ˆ๋‹ค.
10:43
We just need to be a bit more attentive and aware of how to use our voice
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์šฐ๋ฆฌ๋Š” ์กฐ๊ธˆ ๋” ์ฃผ์˜๋ฅผ ๊ธฐ์šธ์ด๊ณ  ์šฐ๋ฆฌ์˜ ๋ชฉ์†Œ๋ฆฌ๋ฅผ ์‚ฌ์šฉํ•˜๋Š” ๋ฐฉ๋ฒ•
10:49
and how to use our pitch to express something in a way that gets people
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๊ณผ ํ”ผ์น˜๋ฅผ ์‚ฌ์šฉํ•˜์—ฌ ์‚ฌ๋žŒ๋“ค์ด
10:55
to listen and gets people to feel.
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๋“ฃ๊ณ  ๋Š๋ผ๊ฒŒ ํ•˜๋Š” ๋ฐฉ์‹์œผ๋กœ ๋ฌด์–ธ๊ฐ€๋ฅผ ํ‘œํ˜„ํ•˜๋Š” ๋ฐฉ๋ฒ•์„ ์ธ์‹ํ•˜๋ฉด ๋ฉ๋‹ˆ๋‹ค.
10:58
"And you will screw it up sometimes."
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"๊ทธ๋ฆฌ๊ณ  ๋‹น์‹ ์€ ๋•Œ๋•Œ๋กœ ๊ทธ๊ฒƒ์„ ๋ง์น  ๊ฒƒ์ž…๋‹ˆ๋‹ค."
11:01
And to remember that too.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๊ฒƒ๋„ ๊ธฐ์–ตํ•˜์‹ญ์‹œ์˜ค.
11:03
'And you will screw it up'.
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'๊ทธ๋ฆฌ๊ณ  ๋‹น์‹ ์€ ๊ทธ๊ฒƒ์„ ๋ง์น  ๊ฒƒ์ž…๋‹ˆ๋‹ค.
11:05
'screw it up' - another phrasal verb and connected speech here.
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'screw it up' - ์—ฌ๊ธฐ์—์„œ ๋˜ ๋‹ค๋ฅธ ๊ตฌ๋™์‚ฌ์™€ ์—ฐ๊ฒฐ์–ด๊ฐ€ ์‚ฌ์šฉ๋ฉ๋‹ˆ๋‹ค.
11:10
'Screw it up'.
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'๋ง์ณ'.
11:13
'skru-wi-dup', right?
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'์Šคํฌ๋ฃจ์œ„๋ฅ' ๋งž์ฃ ?
11:14
We have like a W sound there, that is what happens when you
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์šฐ๋ฆฌ๋Š” ๊ฑฐ๊ธฐ์— W์™€ ๊ฐ™์€ ์†Œ๋ฆฌ๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์€ ๋‹น์‹ ์ด
11:18
connect to back vowel with a schwa.
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schwa๋กœ ๋’ท๋ชจ์Œ์— ์—ฐ๊ฒฐํ•  ๋•Œ ์ผ์–ด๋‚˜๋Š” ์ผ์ž…๋‹ˆ๋‹ค.
11:21
'skru-wi-dup'.
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'skru-wi-dup'.
11:27
'And you will screw it up sometimes'.
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'๊ทธ๋ฆฌ๊ณ  ๋‹น์‹ ์€ ๋•Œ๋•Œ๋กœ ๊ทธ๊ฒƒ์„ ๋ง์น  ๊ฒƒ์ž…๋‹ˆ๋‹ค'.
11:29
But the most important thing is to keep on trying.
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๊ทธ๋Ÿฌ๋‚˜ ๊ฐ€์žฅ ์ค‘์š”ํ•œ ๊ฒƒ์€ ๊ณ„์† ๋…ธ๋ ฅํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
11:32
All right, that's it.
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์ข‹์•„, ๊ทธ๊ฒŒ ๋‹ค์•ผ.
11:33
Now, I know it was just like a little bit of what this speech has to offer.
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์ด์ œ ์ €๋Š” ๊ทธ๊ฒƒ์ด ์ด ์—ฐ์„ค์ด ์ œ๊ณตํ•ด์•ผ ํ•˜๋Š” ๊ฒƒ๊ณผ ์•ฝ๊ฐ„ ๋น„์Šทํ•˜๋‹ค๋Š” ๊ฒƒ์„ ์••๋‹ˆ๋‹ค.
11:37
And this is why I created a PDF for you with actually more parts from the
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๊ทธ๋ž˜์„œ ์ œ๊ฐ€ ๋ถ„์„ํ•œ ์—ฐ์„ค์—์„œ ์‹ค์ œ๋กœ ๋” ๋งŽ์€ ๋ถ€๋ถ„์„ ์‚ฌ์šฉํ•˜์—ฌ PDF๋ฅผ ๋งŒ๋“ค๊ณ 
11:44
speech that I've analyzed and written it in my phonetic language, like it
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์ œ ์Œ์„ฑ ์–ธ์–ด๋กœ ์ž‘์„ฑํ–ˆ์Šต๋‹ˆ๋‹ค.
11:50
actually looks how it needs to sound: with different fonts and reductions.
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์‹ค์ œ๋กœ ์†Œ๋ฆฌ๊ฐ€ ์–ด๋–ป๊ฒŒ ๋“ค๋ฆฌ๋Š”์ง€ ๋ณด์ด๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ๋‹ค๋ฅธ ๊ธ€๊ผด๊ณผ ์ถ•์•ฝ์„ ์‚ฌ์šฉํ–ˆ์Šต๋‹ˆ๋‹ค.
11:54
So it's going to be a lot of fun for you to look at it and
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๊ทธ๋ž˜์„œ ์—ฌ๋Ÿฌ๋ถ„์ด ๊ทธ๊ฒƒ์„ ๋ณด๊ณ 
11:57
practice with it, this speech.
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์—ฐ์Šตํ•˜๋Š” ๊ฒƒ์€ ๋งค์šฐ ์žฌ๋ฏธ์žˆ์„ ๊ฒƒ์ž…๋‹ˆ๋‹ค. ์ด ์—ฐ์„ค.
12:00
Thank you so much for watching.
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์‹œ์ฒญํ•ด์ฃผ์…”์„œ ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค. ์ด ๋น„๋””์˜ค ๋˜๋Š” ์ด ์—ฐ์„ค์—์„œ
12:02
Let me know what was your favorite word or your favorite part of this
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๊ฐ€์žฅ ์ข‹์•„ํ•˜๋Š” ๋‹จ์–ด ๋‚˜ ๊ฐ€์žฅ ์ข‹์•„ํ•˜๋Š” ๋ถ€๋ถ„์„
12:06
video or this speech in the comments.
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๋Œ“๊ธ€๋กœ ์•Œ๋ ค์ฃผ์„ธ์š”.
12:08
And thank you so much for watching.
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๊ทธ๋ฆฌ๊ณ  ์‹œ์ฒญํ•ด์ฃผ์…”์„œ ์ •๋ง ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
12:10
Have a beautiful, beautiful rest of the day.
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์•„๋ฆ„๋‹ต๊ณ  ์•„๋ฆ„๋‹ค์šด ๋‚จ์€ ํ•˜๋ฃจ ๋˜์„ธ์š”.
12:12
And I'll see you next week in the next video.
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๊ทธ๋ฆฌ๊ณ  ๋‹ค์Œ์ฃผ ๋‹ค์Œ ์˜์ƒ์—์„œ ๋ต™๊ฒ ์Šต๋‹ˆ๋‹ค.
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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