2026Convocatòria ordinària · Sèrie 1 · Exercici 1Part 1: Listening comprehension, an interview with the musician Gotcha
3 puntsCoincideix amb la pautaTemes: Comprensió oralEnunciat oficial
AN INTERVIEW WITH GOTCHA, THE MUSICAL FORCE
In this podcast you are going to hear some new words. Read and listen to them. Make sure you know what they mean.
to quote: citar textualment / citar textualmente
prone: propens / propenso
bouts: períodes / períodos
harp: arpa
Ready?
Now read the questions on the following page. Read them carefully before listening to the podcast.
[Now listen to the interview.]
QUESTIONS
Choose the best answer according to the recording. Only ONE answer is correct.
[3 points: 0.375 points for each correct answer. Wrong answers will be penalized by deducting 0.125 points. There is no penalty for unanswered questions.]
1.1 When Gotcha explains what inspired “Turning a Blind Eye”, what does she say is behind the feeling of defeat?
[0.375 points]
1.2 Gotcha finds it difficult to change her environmental habits because
[0.375 points]
1.3 How does Gotcha describe the way she sees the future?
[0.375 points]
1.4 What does touring make Gotcha aware of?
[0.375 points]
1.5 How does Gotcha feel about her growing success?
[0.375 points]
1.6 What challenges does Gotcha mention regarding communication on social media as her audience grows?
[0.375 points]
1.7 What happens when Gotcha records an acoustic instrument note by note?
[0.375 points]
1.8 Gotcha enjoys experimenting with unusual objects to create sounds because
[0.375 points]
Àudio oficial
Àudio oficial de la comprensió oral: Generalitat de Catalunya, Eureka, biblioteca digital (registre 994). Llicència CC BY-NC-SA 4.0. Registre a Eureka
Tria la teva opció i obre la resposta per comparar-la.
1.10,375 punts
- a) The pressure of competing with other contemporary Australian musicians.
- b) Her inability to adapt to present-day Australian lifestyle.
- c) Her awareness of how everyday habits lead to overconsumption.
- d) A disappointment about how little artists care about technology.
- a) Descartada
No es diu a l’entrevista: la cantant no parla de competir amb altres músics.
- b) Descartada
La cançó no va d’això: diu que «it's not specifically about living in contemporary Australia».
- c) Correcta
La cantant explica d’on surt la cançó: se sent derrotada pel que gasten els seus propis hàbits quotidians. Ho diu així: «maybe a bit more aware than some people, in terms of how things I do in my regular life», i parla de «use, maybe overuse of resources». És la tercera opció.
- d) Descartada
No es diu a l’entrevista: parla del seu propi ús de tecnologia d’un sol ús per fer música, no que als artistes no els importi la tecnologia.
1.20,375 punts
- a) it’s hard to know what really helps.
- b) there is too much information, she feels overwhelmed.
- c) she thinks no one else is making an effort.
- d) it’s difficult to change long-established habits.
- a) Correcta
La cantant dubta de la informació que troba i conclou que no sap quins canvis serveixen: «it’s incredibly hard to find a clear basis for making informed judgments or decisions». Poc després afegeix: «It’s hard to feel like anything I do makes a difference». És la primera opció.
- b) Descartada
Parla de la fiabilitat de la informació disponible («I feel very conflicted about the reliability of the information available»), no que n’hi hagi massa ni que se senti aclaparada.
- c) Descartada
No es diu a l’entrevista: no compara el seu esforç amb el dels altres.
- d) Descartada
No es diu a l’entrevista que li costi canviar hàbits arrelats; el que li costa és saber quins canvis serveixen de res.
1.30,375 punts
- a) She is idealistic most of the time, so her songs are optimistic despite her negative thoughts.
- b) She alternates idealism and deep pessimism about the future, which is reflected in her songs.
- c) She feels the world is as pessimistic as she is, though some people do want to change the world.
- d) She is indifferent about the future, so her songs are never influenced by her emotions.
- a) Descartada
Diu el contrari: la lletra de «Turning a Blind Eye» neix dels seus moments de pessimisme, no d’un optimisme que contradigui els seus pensaments negatius.
- b) Correcta
La cantant es descriu com a idealista amb èpoques de pessimisme: «I think I'm an idealist a lot of the time, but often prone to bouts of very depressive cycles of thought and pessimism», i aquests moments inspiren la lletra: «It's those moments when I feel like that really prompted the lyrics». És la segona opció.
- c) Descartada
No es diu a l’entrevista: la cantant parla de si mateixa i no afirma que el món sigui igual de pessimista.
- d) Descartada
Diu el contrari: ella mateixa parla de «bouts of very depressive cycles of thought and pessimism», així que no és indiferent, i aquests moments inspiren la lletra.
1.40,375 punts
- a) The contrast between her environmentally friendly lifestyle and that of other musicians.
- b) How travelling constantly increases her environmental impact.
- c) How certain hotels contribute to the overall carbon footprint.
- d) How each culture approaches environmental problems differently.
- a) Descartada
Només compara quant viatja («some artists do it more than I do»); no diu que el seu estil de vida sigui més ecològic que el d’altres músics.
- b) Correcta
Quan parla de les gires, la cantant reconeix: «I'm probably more in touch with the reality of having an ever-increasing carbon footprint», perquè una gira suposa «a lot of airports, hotel rooms, cars, buses». És la segona opció.
- c) Descartada
No es diu a l’entrevista: els hotels només apareixen a la llista de llocs per on passa una gira («hotel rooms»).
- d) Descartada
L’entrevistador esmenta les cultures a la pregunta, però la cantant no hi respon: parla de la seva petjada de carboni.
1.50,375 punts
- a) She thinks success always brings joy to anyone.
- b) She fears larger projects will feel less meaningful to her.
- c) She is afraid that fans will expect her to keep things as personal as they have been so far.
- d) She believes enjoying fame will fix her environmental worries.
- a) Descartada
No ho diu: cita el que li diu la gent («I must be so overjoyed and amazed by the success») i hi respon amb una preocupació («part of what makes me worry»).
- b) Correcta
La cantant tem que l’èxit faci les coses menys personals: «the bigger things get, the less likely they are to stay sustainable or be personal». És la segona opció, la que recull aquest temor que allò que creix deixi de ser personal.
- c) Descartada
No es diu a l’entrevista: ella tem que les coses perdin el caràcter personal, no parla del que esperin els fans.
- d) Descartada
No es diu a l’entrevista: la fama no apareix com a solució de les seves preocupacions ambientals.
1.60,375 punts
- a) She now posts more often because she feels she owes it to her new followers.
- b) She is more aware of the diversity of her audience and how that affects her communication.
- c) She prefers to post less because communication with her listeners has become less sustainable.
- d) She feels that social media makes followers focus on what she says rather than on her music.
- a) Descartada
No diu que publiqui més: diu que li costa fins i tot escriure qualsevol cosa («It’s difficult for me to even write anything on my Twitter account»).
- b) Correcta
La cantant diu que, a mesura que creix el públic, és més conscient de qui l’escolta: «realizing that my audience is broader now, and that lots of different kinds of people are discovering my music, changes how aware I am of who I’m speaking to on these platforms». És la segona opció.
- c) Descartada
No diu que prefereixi publicar menys: diu que li costa escriure i que ara sap millor a qui s’adreça.
- d) Descartada
No es diu a l’entrevista que els seguidors es fixin en el que diu i no en la seva música.
1.70,375 punts
- a) The instrument sounds the same as usual.
- b) The resulting sound is amazing.
- c) The instrument as such does not appear in the resulting album.
- d) The sound of the instrument becomes angelic.
- a) Descartada
Diu el contrari: «It almost turns into a completely new instrument».
- b) Correcta
En gravar un instrument nota per nota i controlar aquestes notes, la cantant diu que «you make the instrument sound incredible». És la segona opció.
- c) Descartada
No es diu a l’entrevista: l’arpa es grava nota per nota i es converteix en un instrument gairebé nou, però no diu que deixi d’aparèixer al disc.
- d) Descartada
El so angelical és l’habitual de l’arpa: «The way it sounds on a record is usually quite angelic». El que canvia en gravar nota per nota és que sona «incredible».
1.80,375 punts
- a) all other artists use traditional instruments, which is uninteresting.
- b) they help her explore a new way to make music and create more original musical stories.
- c) it takes less time than recording traditional instruments.
- d) avoiding experimentation makes her music sound like everybody else’s.
- a) Descartada
Diu el contrari: «I'm not against using traditional instruments», i al disc hi ha piano i bateries normals.
- b) Correcta
La cantant gaudeix de les maneres alternatives de fer música perquè «They open up windows to sound worlds I haven't explored before» i perquè amb elles hi ha «more of a story». És la segona opció.
- c) Descartada
Diu el contrari: experimentar «also takes time».
- d) Descartada
No es diu a l’entrevista que evitar l’experimentació faci que la seva música soni com la dels altres.
Transcripció oficial de l’àudio
Interviewer (I): You are Gotcha, the musical force!
Gotcha (G): Haha, from now on I’m going to introduce myself as Gotcha, the musical force. My real name is Margot Chapman, but I guess I’ve got used to being called Gotcha more often now.
I: Right, I got you. That song we’ve just listened to, ‘Turning a Blind Eye’, is the first Australian single from your latest record, Making Miracles. It's a song that you say describes your feelings of being completely defeated, I'm quoting you, “by the realities of living in contemporary Australia.” What's been difficult about life there?
G: Oh, it's not specifically about living in contemporary Australia, although I’m American. It comes from a place of defeat, I guess, in the sense of being someone who is concerned, maybe a bit more aware than some people, in terms of how things I do in my regular life, in terms of use of materials, driving cars, using so much disposable technology to make music, how that is so implicitly involved in so much... use, maybe overuse of resources?
I: Your carbon footprint.
G: Yeah. And I feel very conflicted about the reliability of the information available. When I try to research it and make changes, it’s incredibly hard to find a clear basis for making informed judgments or decisions. It’s hard to feel like anything I do makes a difference, even in my own life. Whether or not it sets an example for my fans or helps spread a more environmental message, sometimes it just feels like I’m making changes simply to avoid feeling completely defeated.
I: But the feeling of being “completely defeated” when you were writing this song suggests that you're quite pessimistic about our future. Are you?
G: I have moments like that, yeah. I sometimes change my mind a lot when I compose. You know, I think I'm an idealist a lot of the time, but often prone to bouts of very depressive cycles of thought and pessimism about the potential for really fundamental change in the way humans live on earth, at least. It's those moments when I feel like that really prompted the lyrics to ‘Turning a Blind Eye’.
I: And what about the fact that now that you’re touring, you’re inevitably traveling more and experiencing not just different countries, but different cultures and different ways people are trying to deal with issues like the environment and ecological change? Does that make you feel more defeated, or do you find things on those travels that inspire you?
G: You know, touring for a music career does involve seeing a lot of airports, hotel rooms, cars, buses, et cetera, though some artists do it more than I do. Even so, I'm probably more in touch with the reality of having an ever-increasing carbon footprint, at least in terms of what I'm doing in my music career. And it is indeed something I think about.
I: So you wrote the song ‘Turning a Blind Eye’ feeling completely defeated. It's getting worse now because the song's popular and your carbon footprint is harming everybody.
G: Haha. I do think about that. It's funny, more and more people tell me, I must be so overjoyed and amazed by the success and how big everything's getting. But I guess part of what makes me worry and that might lead to writing a song like this, is the sense that the bigger things get, the less likely they are to stay sustainable or be personal. I don't know...
I: And not just environmentally, but materially, emotionally.
G: Emotionally, yeah, trying to communicate with increasing numbers of people. I feel a bit freaked out about it. I think I have a different approach. It’s difficult for me to even write anything on my Twitter account; even though it's not like I have a huge number of people following me there, only around 40, 50,000. I still think about it. I know plenty of people have millions of followers on these social media. But even so, realizing that my audience is broader now, and that lots of different kinds of people are discovering my music, changes how aware I am of who I’m speaking to on these platforms.
I: Let me talk a bit about the record, Making Miracles. You're getting a lot of attention for this record, and that's got to be rewarding given the amount of work that you put into it. You play most of the instruments on it, but even more remarkable is the method of taking acoustic instruments, recording them note by note, and then turning them into virtual instruments. What exactly does that mean you're doing in terms of creating these sounds?
G: Yes, it’s the case of a harp that I found at an antique shop. A harp is not particularly a new-sounding instrument. It's one you've probably heard. The way it sounds on a record is usually quite angelic, because that's the way you can play it, but to record it note by note and then have control over those notes just means that you make the instrument sound incredible. It almost turns into a completely new instrument.
I: That's remarkably creative and innovative, but where does that come from? I mean, do you have an allergy to just playing an acoustic guitar and singing a song?
G: Well, I'm really excited by alternative ways of making music. They open up windows to sound worlds I haven't explored before, and those are the kinds of records I want to make. I'm not against using traditional instruments: there's plenty of piano and regular drum kits on the album, but I have a pretty intense interest in things like, what if you could use... a plastic ball and use that as a drum instead of just getting a drum out and putting a mic on it. It's just more interesting. It just means there's more of a story. I guess it creates a far greater range of textures, though it also takes time.
I: This is so interesting, Gotcha, but I’m afraid we have run out of time. It’s been a pleasure to have you here with us today.
G: Nice to chat, too.
Adapted from:
https://www.youtube.com/watch?v=-0kNQc_UHn0
Enunciat: Generalitat de Catalunya, Consell Interuniversitari de Catalunya, Oficina d’Accés a la Universitat. PAU d’Anglès 2026, convocatòria ordinària. La imatge és l’examen oficial tal qual i el text el reprodueix; les explicacions i les respostes model són d’EducaIA. Consultat el 7 de novembre de 2026; el document no declara data d’última actualització.
Examen (PDF)Pauta de correcció (PDF)Reutilitzat segons l’avís legal de la Generalitat