Anglès, PAU 2026 de Catalunya: l’examen de juny (sèrie 1) resolt

L’examen de juny (sèrie 1) d’Anglès de la PAU de Catalunya del 2026, sencer: els tres exercicis tal com van sortir. A la comprensió oral, l’àudio oficial i l’opció correcta de cada pregunta amb la seva explicació; a la lectura, una resposta model de cada pregunta oberta amb el que accepta la pauta; i a la redacció, una redacció model per cada opció, amb els quatre criteris explicats. A l’exercici 3 es triava una de les dues preguntes, la 3.1 o la 3.2: les tens resoltes totes.

Examen (PDF)Pauta de correcció (PDF)Reutilitzat segons l’avís legal de la Generalitat

Explicacions i respostes model d’EducaIA. La pauta del 2026 dona l’opció correcta de les 8 preguntes de la comprensió oral i la transcripció completa de l’àudio, diverses formulacions vàlides de cada pregunta oberta de la lectura i el repartiment dels 4 punts de la redacció en quatre criteris (gramàtica, vocabulari i ortografia, cohesió, adequació i coherència); no dona cap redacció model.

Què hi entrava, en punts

Els punts de cada apartat, sumats pel tema que pregunta. El que es triava dins de l’exercici 3 va a part, ratllat.

Instruccions de l’examen The exam consists of THREE mandatory parts. In the first part, listening comprehension is assessed through 8 multiple choice questions. It is worth 3 points. In the second part, reading comprehension is assessed through 6 open-ended questions. It is worth 3 points. In the third part, written expression is assessed. Here, you may choose ONE of the two given options. It is worth 4 points.

Els exercicis de l’examen

2026Convocatòria ordinària · Sèrie 1 · Exercici 1Part 1: Listening comprehension, an interview with the musician Gotcha

3 puntsCoincideix amb la pautaTemes: Comprensió oral
Enunciat oficial
Enunciat oficialAquest examen només es va publicar en anglès.

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

  1. a) The pressure of competing with other contemporary Australian musicians.
  2. b) Her inability to adapt to present-day Australian lifestyle.
  3. c) Her awareness of how everyday habits lead to overconsumption.
  4. d) A disappointment about how little artists care about technology.
  1. a) Descartada

    No es diu a l’entrevista: la cantant no parla de competir amb altres músics.

  2. b) Descartada

    La cançó no va d’això: diu que «it's not specifically about living in contemporary Australia».

  3. 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.

  4. 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

  1. a) it’s hard to know what really helps.
  2. b) there is too much information, she feels overwhelmed.
  3. c) she thinks no one else is making an effort.
  4. d) it’s difficult to change long-established habits.
  1. 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.

  2. 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.

  3. c) Descartada

    No es diu a l’entrevista: no compara el seu esforç amb el dels altres.

  4. 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

  1. a) She is idealistic most of the time, so her songs are optimistic despite her negative thoughts.
  2. b) She alternates idealism and deep pessimism about the future, which is reflected in her songs.
  3. c) She feels the world is as pessimistic as she is, though some people do want to change the world.
  4. d) She is indifferent about the future, so her songs are never influenced by her emotions.
  1. 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.

  2. 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.

  3. c) Descartada

    No es diu a l’entrevista: la cantant parla de si mateixa i no afirma que el món sigui igual de pessimista.

  4. 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

  1. a) The contrast between her environmentally friendly lifestyle and that of other musicians.
  2. b) How travelling constantly increases her environmental impact.
  3. c) How certain hotels contribute to the overall carbon footprint.
  4. d) How each culture approaches environmental problems differently.
  1. 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.

  2. 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.

  3. c) Descartada

    No es diu a l’entrevista: els hotels només apareixen a la llista de llocs per on passa una gira («hotel rooms»).

  4. 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

  1. a) She thinks success always brings joy to anyone.
  2. b) She fears larger projects will feel less meaningful to her.
  3. c) She is afraid that fans will expect her to keep things as personal as they have been so far.
  4. d) She believes enjoying fame will fix her environmental worries.
  1. 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»).

  2. 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.

  3. c) Descartada

    No es diu a l’entrevista: ella tem que les coses perdin el caràcter personal, no parla del que esperin els fans.

  4. d) Descartada

    No es diu a l’entrevista: la fama no apareix com a solució de les seves preocupacions ambientals.

1.60,375 punts

  1. a) She now posts more often because she feels she owes it to her new followers.
  2. b) She is more aware of the diversity of her audience and how that affects her communication.
  3. c) She prefers to post less because communication with her listeners has become less sustainable.
  4. d) She feels that social media makes followers focus on what she says rather than on her music.
  1. 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»).

  2. 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.

  3. c) Descartada

    No diu que prefereixi publicar menys: diu que li costa escriure i que ara sap millor a qui s’adreça.

  4. 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

  1. a) The instrument sounds the same as usual.
  2. b) The resulting sound is amazing.
  3. c) The instrument as such does not appear in the resulting album.
  4. d) The sound of the instrument becomes angelic.
  1. a) Descartada

    Diu el contrari: «It almost turns into a completely new instrument».

  2. 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.

  3. 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.

  4. 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

  1. a) all other artists use traditional instruments, which is uninteresting.
  2. b) they help her explore a new way to make music and create more original musical stories.
  3. c) it takes less time than recording traditional instruments.
  4. d) avoiding experimentation makes her music sound like everybody else’s.
  1. a) Descartada

    Diu el contrari: «I'm not against using traditional instruments», i al disc hi ha piano i bateries normals.

  2. 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.

  3. c) Descartada

    Diu el contrari: experimentar «also takes time».

  4. 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

2026Convocatòria ordinària · Sèrie 1 · Exercici 2Part 2: Reading comprehension, the search for a sixth basic taste

3 puntsDona les idees que demana la pautaTemes: Comprensió escrita amb preguntes obertes
Enunciat oficial
Enunciat oficialAquest examen només es va publicar en anglès.

WHAT’S AFTER UMAMI? SCIENTISTS ARE HUNTING FOR THE SIXTH BASIC TASTE

In 1908, Japanese chemist Kikunae Ikeda was studying the active substances in seaweed, when he made a discovery that would change food science forever. Ikeda realized that a compound called glutamic acid was what gave seaweed its distinctive taste—nothing like the existing basic tastes of sweet, salty, sour, and bitter. He named that taste umami.

Yet even though people have been eating seaweed, mushrooms, miso, cheese, and fermented foods for ages, it took nearly a century of scientific debate for umami to be recognized worldwide as the fifth basic taste. It wasn’t until the 1990s that it gained universal recognition, and only after extensive scientific studies confirmed that it was unlike any other existing taste.

Is it time to add a sixth taste to the list? Some scientists argue that the answer is yes, though there is still debate about what it should be. Scientists have not been intentionally searching for a sixth taste. Rather, “there’s a fundamental science-based search for different ways we can experience the world in terms of taste and how it’s detected,” explains neuroscientist Emily Liman.

Advances in understanding the science of taste would allow food scientists to create more delicious foods—and could also help doctors diagnose and treat related disorders that involve a loss of your sense of taste. But getting the scientific community to agree on a sixth sense is not easy. To qualify as a basic taste, any competitor must be proven to be as distinct as the sweetness of berries or the bitterness of kale.

First, it’s important to note that “there’s a difference between taste and flavor,” says Marisa Moore, a dietitian in culinary nutrition from Atlanta. “Taste begins on the tongue when food molecules we eat mix with saliva and activate our taste buds, which then send signals to the brain and cause the perception of distinct tastes.” Contrary to popular belief, the tongue does not have specific areas that detect each type of taste. Instead, basic tastes can be picked up by taste buds on various parts of the tongue, though different cells may have varying levels of sensitivity to sweet, sour, salty, bitter, and umami.

While taste begins in the mouth, flavor is what registers in the brain when it combines the entire experience of taste, texture, temperature, and aroma. “Taste and other senses do interact in the brain to put together flavor,” says Richard Mattes, professor of nutrition science at Purdue University, “but that’s different from taste.”

Various criteria have been proposed over the years to define a new taste. For starters, a taste needs to have a “chemical signature”—a set of chemical components that are distinct from that of other substances. Then, Mattes says, “you need to have a receptor anywhere on the tongue, palate, or throat where the chemical component can interact with a cell in a taste bud.” That cell in the taste bud must then have a mechanism “to change the component’s chemical signal to an electrical signal that is then transmitted through nerves to the brain,” Mattes adds. The electrical signal carried by taste nerves must activate regions in the brain that are associated with taste, and it needs to generate a unique taste perception in the brain that is independent from other tastes. Finally, there needs to be a response in the body that results from these effects. For example, Mattes says, “the perception of sweetness triggers the release of insulin throughout the body.”

In short, a major challenge to getting the scientific community to accept a new taste has to do with the complexity of the research that needs to be conducted. “You have to go through a lot to prove a taste exists,” says Dawn Jackson Blatner, a dietitian nutritionist in Chicago. None of the candidates for a sixth basic taste have passed all experimental tests yet—but some of them are closer to doing so than others. Despite all these complications, scientists continue to study taste—and debate what the next big one might be—because taste is important, as it is about what we crave, how we cook, and how satisfied we feel after eating.

Text adapted from an article by Stacey Colino. National Geographic [online] (November 25, 2025)

seaweed: alga
taste bud: papil·la gustativa / papila gustativa
palate: paladar
crave: tenir desig de / tener antojo de

QUESTIONS

Answer the questions below using complete sentences. You may use fragments from the text unless specified not to do so.

[3 points: 0.5 points for each correct answer. Up to 0.3 points might be deducted from the total mark for lack of intelligibility in the answers provided.]

2.1 How did umami become recognized as the fifth basic taste? USE YOUR OWN WORDS TO ANSWER THE QUESTION. You may keep the words in the question.

[0.5 points]

2.2 Complete the following sentence:
Improving the diagnosis of taste-related illnesses and permitting researchers to make food tastier are...

[0.5 points]

2.3 Find a phrase in the text that means the following: “Unlike what people usually think”.

[0.5 points]

2.4 According to the text, what is flavor the result of?

[0.5 points]

2.5 Name TWO of the different criteria that have been proposed over the years to define a new taste.

[0.5 points]

2.6 In what sense does the study of taste continue to be important? In your answer, mention the THREE reasons given in the text. USE YOUR OWN WORDS.

[0.5 points]

Escriu la teva resposta i compara-la amb la de la pauta: marca el que tenia la teva.

2.10,5 punts

La resposta model

Umami was accepted as the fifth basic taste only after decades of arguments among researchers, when a large body of research finally confirmed that no other taste was like it.

El que puntua la pauta

0,5 punts. La pauta no reparteix idea per idea els punts del contingut d’aquest apartat.

La pregunta demana les teves paraules: no copiïs frases del text com «it took nearly a century of scientific debate for umami to be recognized worldwide»; sí que pots repetir les paraules de la pregunta. La resposta ha de dir que es va acceptar com a cinquè sabor quan els estudis van demostrar que era diferent dels altres.

La pauta accepta, en anglès i literal:

  • Umami was recognized as the fifth basic taste after research/investigations corroborated/stated/proved that it was different from other tastes we already know/have.

2.20,5 punts

La resposta model

Improving the diagnosis of taste-related illnesses and permitting researchers to make food tastier are two advantages that a better understanding of how taste works could bring.

El que puntua la pauta

0,5 punts. La pauta no reparteix idea per idea els punts del contingut d’aquest apartat.

Cal completar la frase i que continuï sent gramatical: comença amb les paraules de l’enunciat i continua amb el que són aquestes dues coses, per exemple avantatges o aplicacions d’entendre millor el gust. El text ho diu així: «Advances in understanding the science of taste would allow food scientists to create more delicious foods».

La pauta accepta, en anglès i literal:

  • two effects/consequences/applications/results of understanding the science of taste.

2.30,5 punts

La resposta model

Contrary to popular belief

El que puntua la pauta

0,5 punts. La pauta no reparteix idea per idea els punts del contingut d’aquest apartat.

Es demana una expressió del text, no una explicació: copia la frase tal com apareix, sense canviar-la ni afegir-hi res. Busca-la al paràgraf que parla de les zones de la llengua.

La pauta accepta, en anglès i literal:

  • Contrary to popular belief

2.40,5 punts

La resposta model

Flavor results from the brain putting together the taste with the food’s texture, its temperature and its aroma.

El que puntua la pauta

0,5 punts. La pauta no reparteix idea per idea els punts del contingut d’aquest apartat.

El text ho explica al paràgraf que distingeix gust i sabor: «flavor is what registers in the brain when it combines the entire experience of taste, texture, temperature, and aroma». N’hi ha prou amb dir que el sabor resulta del fet que el cervell combini el gust amb la textura, la temperatura i l’aroma; pots fer servir fragments del text.

La pauta accepta, en anglès i literal:

  • Flavor is the (result of the) interaction between taste and other senses in the brain.
  • Flavor is the (result of the) combination of taste, texture, temperature and aroma in the brain.
  • Flavor is what registers in the brain when it combines the entire experience of taste, texture, temperature and aroma.

2.50,5 punts

La resposta model

1

Firstly, a candidate taste needs a chemical signature, meaning a group of chemical components unlike those found in other substances.

2

Secondly, there has to be a receptor somewhere in the mouth or throat, so that the components can interact with a cell of a taste bud.

El que puntua la pauta

0,5 punts: la pauta en demana dues de les idees següents.

  1. §1
  2. §2

Amb les regles de la pauta. Si una idea hi és, ho decideixes tu; si la tens a mitges, el tribunal en pot donar una part.

Demanen DOS criteris: dona’n dos. El text n’enumera sis (una «chemical signature», un receptor, un mecanisme a la cèl·lula, l’activació de zones del cervell, una percepció única i una resposta del cos): tria’n dos i escriu-los en frases completes, amb les teves paraules o amb fragments del text.

La pauta accepta, en anglès i literal:

  • A taste needs to have a “chemical signature” -a set of chemical components that are distinct from that of other substances.
  • You need to have a receptor anywhere on the tongue, palate, or throat where the chemical component can interact with a cell in a tastebud.
  • That cell in the tastebud must have a mechanism “to change the component’s chemical signal to an electrical signal that is then transmitted through nerves to the brain”.
  • The electrical signal carried by taste nerves must activate regions in the brain that are associated with taste.
  • It needs to generate a unique taste perception in the brain that is independent from other tastes.
  • There needs to be a response in the body that results from these effects.

2.60,5 punts

La resposta model

The study of taste remains important because it is related to the foods we long for, the ways in which we prepare our meals and the degree of satisfaction we get once we have eaten.

El que puntua la pauta

0,5 punts. La pauta no reparteix idea per idea els punts del contingut d’aquest apartat.

Demanen les TRES raons i amb les teves paraules. El text les dona a l’última frase: el gust té a veure amb el que ens ve de gust menjar, amb com cuinem i amb com de satisfets ens sentim després de menjar. No copiïs «it is about what we crave, how we cook, and how satisfied we feel after eating»: digues-ho d’una altra manera i no et deixis cap de les tres.

La pauta accepta, en anglès i literal:

  • The study of taste continues to be important because/since/as taste is about what we feel like eating, how we prepare food, and how happy we are after a meal.
  • The three reasons why the study of taste continues to be important include the relationship between taste and what we feel like eating, how/the way we prepare food and how happy we are after a meal.

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

2026Convocatòria ordinària · Sèrie 1 · Exercici 3Part 3: Writing

4 puntsUna redacció model d’EducaIA: la pauta no en dona capTemes: Correu i carta formal, Assaig d’opinió i argumentatiu
Enunciat oficial
Enunciat oficialAquest examen només es va publicar en anglès.

Choose ONE topic. Your answer should be 125-150 words in length. There is no specific penalty for exceeding 150 words in length.

[4 points: 1 point for grammar, 1 point for vocabulary and spelling, 1 point for cohesion, and 1 point for adequacy and coherence]

3.1 You recently attended an international online workshop on cooking healthy food. You want to thank the workshop coordinator for how useful this workshop has been to you. Write a formal email to the workshop coordinator in which you highlight the quality of the workshop, explain what you learned, and suggest improvements for future workshops.

[4 points]

3.2 Over the last few years, the number of teenagers suffering from stress and anxiety has increased significantly in many developed countries. Schools, parents, and health organisations are debating possible solutions to improve students’ well-being and reduce pressure. Some experts believe that schools should not give homework or hold traditional exams, while others argue that it is necessary for academic progress. Write an opinion essay on whether homework and/or exams should be limited or abolished for secondary school students, giving reasons and examples to support your view.

[4 points]

Escriu la teva redacció, compara-la amb la redacció model i marca els criteris que compleix.

3.14 punts

La resposta model

Dear Workshop Coordinator,

I am writing to thank you for the international online workshop on cooking healthy food that I attended last week. It has been extremely useful for me.

Firstly, the quality of the sessions was outstanding. The speakers were well prepared, the recipes were clearly explained, and the live demonstrations made everything easy to follow. Thanks to the workshop, I learned how to plan balanced weekly menus, read food labels carefully and replace processed products with fresh ingredients. I have already cooked three of the dishes for my family.

However, I would like to suggest some improvements for future workshops. Shorter sessions with a break in the middle would help participants stay focused. In addition, sending the recipes in advance would allow us to buy the ingredients beforehand.

Once again, thank you very much for your work.

Yours sincerely, Anna Soler

El que puntua la pauta

Cada criteri val 1 punt.

Un punt per criteri. Si el teu text el compleix, ho decideixes tu.

Què mira cada criteri en aquesta redacció

  • Grammar Mira que les frases siguin correctes i que les estructures variïn. En aquest correu hi ha temps diferents («I have already cooked three of the dishes for my family») i condicionals («would help participants stay focused»).
  • Vocabulary and spelling Mira que el vocabulari sigui precís, propi del tema (la cuina saludable) i del registre formal, i que l’ortografia sigui correcta. Per exemple, «replace processed products with fresh ingredients» i la fórmula d’obertura «I am writing to thank you».
  • Cohesion Mira que les idees s’encadenin amb connectors i que cada paràgraf tingui la seva funció. Aquí, «Firstly», «However», «In addition» i «Once again» ordenen el correu, i «Thanks to the workshop, I learned how to plan balanced weekly menus» enllaça la valoració amb el que s’ha après.
  • Adequacy and coherence Mira que el text faci el que demana la consigna, amb el registre i el destinatari adequats. El correu s’adreça al coordinador («Dear Workshop Coordinator»), valora la qualitat del taller, explica el que s’ha après i proposa millores per a futures edicions, sense contraccions i amb comiat formal.

3.24 punts

La resposta model

Many people wonder whether homework and exams should disappear to reduce teenagers’ stress. In my opinion, they should be limited, but not abolished.

To begin with, the current system puts too much pressure on students. Many of us spend the evenings finishing worksheets and revising for tests, so we have little time to sleep, exercise or see our friends. For example, a classmate of mine stopped enjoying school because of the amount of work she had to hand in every week.

On the other hand, we cannot simply get rid of everything. Exams show teachers and students what has really been learned, and a reasonable amount of homework helps us practise at our own pace.

In conclusion, schools should set less homework, replace some exams with projects and let students rest. That would protect their well-being without harming their progress.

El que puntua la pauta

Cada criteri val 1 punt.

Un punt per criteri. Si el teu text el compleix, ho decideixes tu.

Què mira cada criteri en aquesta redacció

  • Grammar Mira que les frases siguin correctes i variades. Aquí hi ha passives i subordinades («Exams show teachers and students what has really been learned») i modals («we cannot simply get rid of everything»).
  • Vocabulary and spelling Mira que el vocabulari sigui precís i natural i que l’ortografia sigui correcta, també en la varietat escollida (aquí, la britànica). Per exemple, «finishing worksheets and revising for tests», «well-being».
  • Cohesion Mira que les idees s’enllacin i que el text avanci en paràgrafs. Aquí, «To begin with», «On the other hand» i «In conclusion» ordenen l’assaig, i «so we have little time to sleep, exercise or see our friends» uneix causa i conseqüència.
  • Adequacy and coherence Mira que el text compleixi la consigna: un assaig d’opinió amb postura clara, raons i exemples. La postura apareix al principi («they should be limited, but not abolished»), i l’exemple concret és «a classmate of mine stopped enjoying school».

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

Els altres exàmens d’Anglès, resolts

Practica cada tema

Cada tema d’aquest examen té la seva pàgina amb tots els exercicis de la PAU d’Anglès de 2022 a 2026.

Comprensió oralComprensió escrita amb preguntes obertesCorreu i carta formalAssaig d’opinió i argumentatiuTots els temes d’Anglès

Preguntes freqüents

Com era l’examen de juny (sèrie 1) d’Anglès del 2026?

Les instruccions oficials, en anglès, són a dalt. Per temes, els punts eren: comprensió oral (3 punts) i comprensió escrita amb preguntes obertes (3 punts). Exercici 3, una pregunta a triar de dues: 3.1, correu i carta formal; 3.2, assaig d’opinió i argumentatiu.

Les respostes són les oficials?

L’opció correcta de cada pregunta d’opcions és la de la pauta oficial; les explicacions, les respostes model i les redaccions model les escriu EducaIA. La pauta del 2026 dona l’opció correcta de les 8 preguntes de la comprensió oral i la transcripció completa de l’àudio, diverses formulacions vàlides de cada pregunta oberta de la lectura i el repartiment dels 4 punts de la redacció en quatre criteris (gramàtica, vocabulari i ortografia, cohesió, adequació i coherència); no dona cap redacció model.

On són l’examen oficial i la pauta?

Als enllaços de dalt de tot: el PDF de l’examen i el de la pauta de correcció, al web de la Generalitat. El botó d’imprimir prepara l’examen amb espai per respondre i les respostes model a part.

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Puja els teus apunts d’Anglès i EducaIA et prepara el pla dia a dia fins a la PAU, amb resums, flashcards i tests dels teus propis temes.

Prepara la PAU d’Anglès a EducaIA

Tots els exàmens de CatalunyaCentre PAU de CatalunyaCalculadora de nota PAU

Enunciat oficial

Toca la imatge per apropar-la o allunyar-la.