2026Convocatoria ordinaria · Serie 1 · Ejercicio 1Part 1: Listening comprehension, an interview with the musician Gotcha
3 puntosCoincide con la pautaTemas: Comprensión oralEnunciado 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]
Audio oficial
Audio oficial de la comprensión oral: Generalitat de Catalunya, Eureka, biblioteca digital (registro 994). Licencia CC BY-NC-SA 4.0. Registro en Eureka
Elige tu opción y abre la respuesta para compararla.
1.10,375 puntos
- 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 se dice en la entrevista: la cantante no habla de competir con otros músicos.
- b) Descartada
La canción no va de eso: dice que «it's not specifically about living in contemporary Australia».
- c) Correcta
La cantante explica de dónde sale la canción: se siente derrotada por lo que gastan sus propios hábitos cotidianos. Lo dice así: «maybe a bit more aware than some people, in terms of how things I do in my regular life», y habla de «use, maybe overuse of resources». Es la tercera opción.
- d) Descartada
No se dice en la entrevista: habla de su propio uso de tecnología desechable para hacer música, no de que a los artistas les dé igual la tecnología.
1.20,375 puntos
- 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 cantante duda de la información que encuentra y concluye que no sabe qué cambios sirven: «it’s incredibly hard to find a clear basis for making informed judgments or decisions». Poco después añade: «It’s hard to feel like anything I do makes a difference». Es la primera opción.
- b) Descartada
Habla de la fiabilidad de la información disponible («I feel very conflicted about the reliability of the information available»), no de que haya demasiada ni de que se sienta abrumada.
- c) Descartada
No se dice en la entrevista: no compara su esfuerzo con el de los demás.
- d) Descartada
No se dice en la entrevista que le cueste cambiar hábitos arraigados; lo que le cuesta es saber qué cambios sirven de algo.
1.30,375 puntos
- 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
Dice lo contrario: la letra de «Turning a Blind Eye» nace de sus momentos de pesimismo, no de un optimismo que contradiga sus pensamientos negativos.
- b) Correcta
La cantante se describe como idealista con épocas de pesimismo: «I think I'm an idealist a lot of the time, but often prone to bouts of very depressive cycles of thought and pessimism», y esos momentos inspiran la letra: «It's those moments when I feel like that really prompted the lyrics». Es la segunda opción.
- c) Descartada
No se dice en la entrevista: la cantante habla de sí misma y no afirma que el mundo sea igual de pesimista.
- d) Descartada
Dice lo contrario: ella misma habla de «bouts of very depressive cycles of thought and pessimism», así que no es indiferente, y esos momentos inspiran la letra.
1.40,375 puntos
- 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
Solo compara cuánto viaja («some artists do it more than I do»); no dice que su estilo de vida sea más ecológico que el de otros músicos.
- b) Correcta
Al hablar de las giras, la cantante reconoce: «I'm probably more in touch with the reality of having an ever-increasing carbon footprint», porque una gira supone «a lot of airports, hotel rooms, cars, buses». Es la segunda opción.
- c) Descartada
No se dice en la entrevista: los hoteles solo aparecen en la lista de lugares por los que pasa una gira («hotel rooms»).
- d) Descartada
El entrevistador menciona las culturas en su pregunta, pero la cantante no responde sobre eso: habla de su huella de carbono.
1.50,375 puntos
- 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 lo dice: cita lo que le dice la gente («I must be so overjoyed and amazed by the success») y responde con una preocupación («part of what makes me worry»).
- b) Correcta
La cantante teme que el éxito haga las cosas menos personales: «the bigger things get, the less likely they are to stay sustainable or be personal». Es la segunda opción, la que recoge ese temor a que lo grande deje de ser personal.
- c) Descartada
No se dice en la entrevista: ella teme que las cosas pierdan lo personal, no habla de lo que esperen los fans.
- d) Descartada
No se dice en la entrevista: la fama no aparece como solución a sus preocupaciones ambientales.
1.60,375 puntos
- 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 dice que publique más: dice que le cuesta incluso escribir algo («It’s difficult for me to even write anything on my Twitter account»).
- b) Correcta
La cantante dice que, al crecer su público, es más consciente de quién la escucha: «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». Es la segunda opción.
- c) Descartada
No dice que prefiera publicar menos: dice que le cuesta escribir y que ahora sabe mejor a quién se dirige.
- d) Descartada
No se dice en la entrevista que los seguidores se fijen en lo que dice y no en su música.
1.70,375 puntos
- 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
Dice lo contrario: «It almost turns into a completely new instrument».
- b) Correcta
Al grabar un instrumento nota por nota y controlar esas notas, la cantante dice que «you make the instrument sound incredible». Es la segunda opción.
- c) Descartada
No se dice en la entrevista: el arpa se graba nota por nota y se convierte en un instrumento casi nuevo, pero no dice que deje de aparecer en el disco.
- d) Descartada
El sonido angelical es el habitual del arpa: «The way it sounds on a record is usually quite angelic». Lo que cambia al grabar nota por nota es que suena «incredible».
1.80,375 puntos
- 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
Dice lo contrario: «I'm not against using traditional instruments», y en el disco hay piano y baterías normales.
- b) Correcta
La cantante disfruta de las formas alternativas de hacer música porque «They open up windows to sound worlds I haven't explored before» y porque con ellas hay «more of a story». Es la segunda opción.
- c) Descartada
Dice lo contrario: experimentar «also takes time».
- d) Descartada
No se dice en la entrevista que evitar la experimentación haga que su música suene como la de los demás.
Transcripción oficial del audio
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
Enunciado: Generalitat de Catalunya, Consell Interuniversitari de Catalunya, Oficina d’Accés a la Universitat. PAU de Inglés 2026, convocatoria ordinaria. La imagen es el examen oficial tal cual y el texto lo reproduce; las explicaciones y las respuestas modelo son de EducaIA. Consultado el 7 de noviembre de 2026; el documento no declara fecha de última actualización.
Examen (PDF)Pauta de corrección (PDF)Reutilizado según el aviso legal de la Generalitat