Speaking Nov 8

Describe a creative person whose work you admire.

Well, the creative person I admire is Tom, a PhD candidate in my department. I first knew him in my first semester when he supervised my vacuum experiment. We met in the lab late at night—coffee in hand, oscilloscopes everywhere.

What impressed me is the way he turns constraints into design features. Our budget was tight, so he built a low-cost vacuum-leak detector from off-the-shelf sensors, a 3D-printed manifold and, you know, a small microcontroller. He also released the code with clear documentation and a calibration protocol, which made the device genuinely reproducible rather than just a clever hack. Later, he organised a weekend “repair clinic” where he helped other groups refit legacy equipment instead of buying new instruments, which, to be honest, saved everyone time and funding.

I think he’s creative because he combines systems thinking, iterative prototyping and evidence-based evaluation. He reframes problems—“What if the bottleneck is our workflow, not the hardware?”—and then tests that hypothesis. When I watch him, I feel both relieved and, sort of, energised; his resourcefulness makes difficult work feel tractable. At the end of the day, I admire him because his creativity is not flashy—it’s purposeful, ethical and scalable, which is exactly what science needs.

Well, the creative person I admire is Tom, a PhD candidate in my department.
/wel ðiː kriˈeɪ.tɪv ˈpɜː.sən aɪ ədˈmaɪə ɪz tɒm eɪ piː eɪtʃ diː ˈkæn.dɪ.dət ɪn maɪ dɪˈpɑːt.mənt/

I first knew him in my first semester when he supervised my vacuum experiment.
/aɪ fɜːst njuː hɪm ɪn maɪ fɜːst sɪˈmes.tə wen hiː ˈsuː.pə.vaɪzd maɪ ˈvæk.juːm ɪkˈsper.ɪ.mənt/

We met in the lab late at night—coffee in hand, oscilloscopes everywhere.
/wiː met ɪn ðiː læb leɪt æt naɪt ˈkɒf.i ɪn hænd əˈsɪl.ə.skəʊps ˈev.ri.weə/

What impressed me is the way he turns constraints into design features.
/wɒt ɪmˈprest miː ɪz ðiː weɪ hiː tɜːnz kənˈstreɪnts ˈɪn.tuː dɪˈzaɪn ˈfiː.tʃəz/

Our budget was tight, so he built a low-cost vacuum leak detector from off-the-shelf sensors, a 3D printed manifold and, you know, a small microcontroller.
/aʊə ˈbʌdʒ.ɪt wɒz taɪt səʊ hiː bɪlt eɪ ˌləʊˈkɒst ˈvæk.juːm liːk dɪˈtek.tə frɒm ˌɒf.ðəˈʃelf ˈsen.səz eɪ ˌθriːˈdiː ˈprɪn.tɪd ˈmæn.ɪ.fəʊld ænd juː nəʊ eɪ smɔːl ˌmaɪ.krəʊ.kənˈtrəʊ.lə/

He also released the code with clear documentation and a calibration protocol, which made the device genuinely reproducible rather than just a clever hack.
/hiː ˈɔːl.səʊ rɪˈliːst ðiː kəʊd wɪð klɪə ˌdɒk.jʊ.menˈteɪ.ʃən ænd eɪ ˌkæl.ɪˈbreɪ.ʃən ˈprəʊ.tə.kɒl wɪtʃ meɪd ðə dɪˈvaɪs ˈdʒen.ju.ɪn.li ˌriː.prəˈdʒuː.sə.bəl ˈrɑː.ðən ðæn dʒʌst eɪ ˈklev.ə hæk/

Later, he organised a weekend repair clinic where he helped other groups refit legacy equipment instead of buying new instruments, which, to be honest, saved everyone time and funding.
/ˈleɪ.tə hiː ˈɔː.ɡə.naɪzd eɪ ˌwiːkˈend rɪˈpeə ˈklɪn.ɪk weə hiː helpt ˈʌð.ə ɡruːps ˌriːˈfɪt ˈleɡ.ə.si ɪˈkwɪp.mənt ɪnˈsted ɒv ˈbaɪ.ɪŋ njuː ˈɪn.strə.mənts wɪtʃ tuː biː ˈɒn.ɪst seɪvd ˈev.ri.wʌn taɪm ænd ˈfʌn.dɪŋ/

I think he’s creative because he combines systems thinking, iterative prototyping and evidence-based evaluation.
/aɪ θɪŋk hiːz kriˈeɪ.tɪv bɪˈkɒz hiː kəmˈbaɪnz ˈsɪs.təmz ˈθɪŋ.kɪŋ ˈɪt.ər.ə.tɪv ˈprəʊ.tə.taɪ.pɪŋ ˈev.ɪ.dəns-beɪst ɪˌvæl.juˈeɪ.ʃən/

He reframes problems—“What if the bottleneck is our workflow, not the hardware?”—and then tests that hypothesis.
/hiː ˌriːˈfreɪmz ˈprɒb.ləmz wɒt ɪf ðiː ˈbɒt.əl.nek ɪz ˈaʊə ˈwɜːk.fləʊ nɒt ðiː ˈhɑːd.weə ænd ðen tests ðæt haɪˈpɒθ.ə.sɪs/

When I watch him, I feel both relieved and, sort of, energised; his resourcefulness makes difficult work feel tractable.
/wen aɪ wɒtʃ hɪm aɪ fiːl bəʊθ rɪˈliːvd ænd sɔːt ɒv ˈen.ə.dʒaɪzd hɪz rɪˈzɔːs.fəl.nəs meɪks ˈdɪf.ɪ.kəlt wɜːk fiːl ˈtræk.tə.bəl/

At the end of the day, I admire him because his creativity is not flashy—it’s purposeful, ethical and scalable, which is exactly what science needs.
/æt ðiː end ɒv ðiː deɪ aɪ ədˈmaɪə hɪm bɪˈkɒz hɪz ˌkriː.eɪˈtɪv.ɪ.ti ɪz nɒt ˈflæʃ.i ɪts ˈpɜː.pəs.fəl ˈeθ.ɪ.kəl ænd ˈskeɪ.lə.bəl wɪtʃ ɪz ɪɡˈzækt.li wɒt ˈsaɪ.əns niːdz/

part3

Do you think children should learn to play musical instruments?

I think children should learn an instrument, not just for entertainment but because it strengthens executive function and self-regulation. Practising scales with a metronome looks trivial, but, you know, it cultivates sustained attention, working memory, and error monitoring—the same capacities I rely on when debugging code or aligning optics in a physics lab. Music also provides structured feedback: you set a performance target, iterate, and evaluate, which is essentially hypothesis–test–refine.

There’s a social dimension as well. Ensemble playing develops coordination, turn-taking, and collective responsibility, which are the foundations of teamwork in any research group. To be honest, I’m not saying every child has to pursue conservatory-level training; exposure with reasonable intensity is enough to generate transferable skills and genuine aesthetic appreciation. At the end of the day, music education is a high-return investment in attention, perseverance and cultural literacy.

I think children should learn an instrument, not just for entertainment but because it strengthens executive function and self-regulation.
/aɪ θɪŋk ˈtʃɪl.drən ʃʊd lɜːn æn ˈɪn.strə.mənt nɒt dʒʌst fɔː ˌen.təˈteɪn.mənt bət bɪˈkɒz ɪt ˈstreŋθ.ənz ɪɡˈzek.jʊ.tɪv ˈfʌŋk.ʃən ænd self ˌreɡ.jʊˈleɪ.ʃən/

Practising scales with a metronome looks trivial, but, you know, it cultivates sustained attention, working memory, and error monitoring—the same capacities I rely on when debugging code or aligning optics in a physics lab.
/ˈpræk.tɪ.sɪŋ skeɪlz wɪð eɪ ˈmet.rə.nəʊm lʊks ˈtrɪv.i.əl bʌt juː nəʊ ɪt ˈkʌl.tɪ.veɪts səˈsteɪnd əˈten.ʃən ˈwɜː.kɪŋ ˈmem.ər.i ænd ˈer.ə ˈmɒn.ɪ.tər.ɪŋ ðiː seɪm kəˈpæs.ɪ.tiz aɪ rɪˈlaɪ ɒn wen ˌdiːˈbʌɡ.ɪŋ kəʊd ɔː əˈlaɪ.nɪŋ ˈɒp.tɪks ɪn eɪ ˈfɪz.ɪks læb/

Music also provides structured feedback: you set a performance target, iterate, and evaluate, which is essentially hypothesis test refine.
/ˈmjuː.zɪk ˈɔːl.səʊ prəˈvaɪdz ˈstrʌk.tʃəd ˈfiːd.bæk juː set eɪ pəˈfɔː.məns ˈtɑː.ɡɪt ˈɪt.ər.eɪt ænd ɪˈvæl.ju.eɪt wɪtʃ ɪz ɪˈsen.ʃəli haɪˈpɒθ.ə.sɪs test rɪˈfaɪn/

There’s a social dimension as well.
/ðeəz eɪ ˈsəʊ.ʃəl daɪˈmen.ʃən æz wel/

Ensemble playing develops coordination, turn-taking, and collective responsibility, which are the foundations of teamwork in any research group.
/ɒnˈsɒm.bəl ˈpleɪ.ɪŋ dɪˈvel.əps kəʊˌɔː.dɪˈneɪ.ʃən tɜːn ˈteɪ.kɪŋ ænd kəˈlek.tɪv rɪˌspɒn.sɪˈbɪl.ɪ.ti wɪtʃ ɑː ðiː faʊnˈdeɪ.ʃənz ɒv ˈtiːm.wɜːk ɪn ˈen.i rɪˈsɜːtʃ ɡruːp/

To be honest, I’m not saying every child has to pursue conservatory-level training; exposure with reasonable intensity is enough to generate transferable skills and genuine aesthetic appreciation.
/tuː biː ˈɒn.ɪst aɪm nɒt ˈseɪ.ɪŋ ˈev.ri tʃaɪld hæz tuː pəˈsjuː kənˈsɜː.və.tər.i ˈlev.əl ˈtreɪ.nɪŋ ɪkˈspəʊ.ʒə wɪð ˈriː.zən.ə.bəl ɪnˈten.sɪ.ti ɪz ɪˈnʌf tuː ˈdʒen.ə.reɪt trænsˈfɜː.rə.bəl skɪlz ænd ˈdʒen.ju.ɪn iːsˈθet.ɪk əˌpriː.ʃiˈeɪ.ʃən/

At the end of the day, music education is a high-return investment in attention, perseverance and cultural literacy.
/æt ðiː end ɒv ðiː deɪ ˈmjuː.zɪk ˌed.jʊˈkeɪ.ʃən ɪz eɪ haɪ rɪˈtɜːn ɪnˈvest.mənt ɪn əˈten.ʃən ˌpɜː.sɪˈvɪə.rəns ænd ˈkʌl.tʃər.əl ˈlɪt.ər.ə.si/

How do artists acquire inspiration?

Well, I think artists usually cultivate inspiration rather than wait for it. They observe obsessively, then work under productive constraints—a limited palette, a fixed form—because boundaries sharpen attention and prompt unusual solutions. In my physics lab, I see the same effect: when I restrict variables on the optics bench, new symmetries and patterns jump out; artists do this with materials and structure. Inspiration also comes after incubation. You draft, step away—take a quiet walk, practise a scale—and the mind’s background processes recombine ideas. To be honest, disciplined routines—daily sketching, keeping a field notebook, curating references—make “serendipity” more likely. At the end of the day, inspiration is an emergent property of sustained observation, intelligent limits, and deliberate rest.

Well, I think artists usually cultivate inspiration rather than wait for it.
/wel aɪ θɪŋk ˈɑː.tɪsts ˈjuː.ʒu.ə.li ˈkʌl.tɪ.veɪt ˌɪn.spɪˈreɪ.ʃən ˈrɑː.ðə ðæn weɪt fɔːr ɪt/

They observe obsessively, then work under productive constraints—a limited palette, a fixed form—because boundaries sharpen attention and prompt unusual solutions.
/ðeɪ əbˈzɜːv əbˈses.ɪv.li ðen wɜːk ˈʌn.də prəˈdʌk.tɪv kənˈstreɪnts eɪ ˈlɪm.ɪ.tɪd ˈpæl.ət eɪ fɪkst fɔːm bɪˈkɒz ˈbaʊn.dər.iz ˈʃɑː.pən əˈten.ʃən ænd prɒmpt ʌnˈjuː.ʒu.əl səˈluː.ʃənz/

In my physics lab, I see the same effect: when I restrict variables on the optics bench, new symmetries and patterns jump out; artists do this with materials and structure.
/ɪn maɪ ˈfɪz.ɪks læb aɪ siː ðiː seɪm ɪˈfekt wen aɪ rɪˈstrɪkt ˈveə.ri.ə.bəlz ɒn ðiː ˈɒp.tɪks bentʃ njuː ˈsɪm.ɪ.triz ænd ˈpæt.ənz dʒʌmp aʊt ˈɑː.tɪsts duː ðɪs wɪð məˈtɪə.ri.əlz ænd ˈstrʌk.tʃə/

Inspiration also comes after incubation.
/ˌɪn.spɪˈreɪ.ʃən ˈɔːl.səʊ kʌmz ˈɑːf.tə ˌɪŋ.kjuːˈbeɪ.ʃən/

You draft, step away—take a quiet walk, practise a scale—and the mind’s background processes recombine ideas.
/juː drɑːft step əˈweɪ teɪk eɪ ˈkwaɪ.ət wɔːk ˈpræk.tɪs eɪ skeɪl ænd ðiː maɪndz ˈbæk.ɡraʊnd ˈprəʊ.ses.ɪz ˌriː.kəmˈbaɪn aɪˈdɪəz/

To be honest, disciplined routines—daily sketching, keeping a field notebook, curating references—make “serendipity” more likely.
/tuː biː ˈɒn.ɪst ˈdɪs.ə.plɪnd ruːˈtiːnz ˈdeɪ.li ˈsketʃ.ɪŋ ˈkiː.pɪŋ eɪ fiːld ˈnəʊt.bʊk kjʊəˈreɪ.tɪŋ ˈref.ər.əns.ɪz meɪk ˌserənˈdɪpəti mɔː ˈlaɪk.li/

At the end of the day, inspiration is an emergent property of sustained observation, intelligent limits, and deliberate rest.
/æt ðiː end ɒv ðiː deɪ ˌɪn.spɪˈreɪ.ʃən ɪz æn ɪˈmɜː.dʒənt ˈprɒp.ə.ti ɒv səˈsteɪnd ˌɒb.zəˈveɪ.ʃən ɪnˈtel.ɪ.dʒənt ˈlɪm.ɪts ænd dɪˈlɪb.ər.ət rest/

Do you think pictures and videos in news reports are important?

Well, I’d say pictures and videos are crucial because they provide empirical cues that text alone can’t—facial expressions, spatial layout, the scale of an event. They also reduce cognitive load and help audiences build a quick situational model of what happened. That said, visuals only add value when they’re contextualised: clear captions, time-and-location stamps, and information about provenance. In my physics lab, you know, a graph without axes means nothing; news images are similar—without metadata, they’re just impressions. I must say, short clips with consistent framing and ethical editing can actually raise public trust because they make the reporting more transparent. At the end of the day, visuals are important not because they’re dramatic, but because—when properly sourced—they corroborate claims and improve comprehension.

Well, I’d say pictures and videos are crucial because they provide empirical cues that text alone can’t—facial expressions, spatial layout, the scale of an event.
/wel aɪd seɪ ˈpɪk.tʃəz ænd ˈvɪd.i.əʊz ɑː ˈkruː.ʃəl bɪˈkɒz ðeɪ prəˈvaɪd ɪmˈpɪr.ɪ.kəl kjuːz ðæt tekst əˈləʊn kɑːnt ˈfeɪ.ʃəl ɪkˈspreʃ.ənz ˈspeɪ.ʃəl ˈleɪ.aʊt ðiː skeɪl ɒv æn ɪˈvent/

They also reduce cognitive load and help audiences build a quick situational model of what happened.
/ðeɪ ˈɔːl.səʊ rɪˈdjuːs ˈkɒɡ.nɪ.tɪv ləʊd ænd help ˈɔː.di.ən.sɪz bɪld eɪ kwɪk ˌsɪtʃ.uˈeɪ.ʃən.əl ˈmɒd.əl ɒv wɒt ˈhæp.ənd/

That said, visuals only add value when they’re contextualised: clear captions, time-and-location stamps, and information about provenance.
/ðæt sed ˈvɪʒ.u.əlz ˈəʊn.li æd ˈvæl.juː wen ðeə kənˈtek.stʃu.ə.laɪzd klɪə ˈkæp.ʃənz taɪm ænd ləʊˈkeɪ.ʃən stæmps ænd ˌɪn.fəˈmeɪ.ʃən əˈbaʊt ˈprɒv.ən.əns/

In my physics lab, you know, a graph without axes means nothing; news images are similar—without metadata, they’re just impressions.
/ɪn maɪ ˈfɪz.ɪks læb juː nəʊ eɪ ɡrɑːf wɪˈðaʊt ˈæk.siːz miːnz ˈnʌθ.ɪŋ njuːz ˈɪm.ɪ.dʒɪz ɑː ˈsɪm.ɪ.lə wɪˈðaʊt ˈmet.əˌdeɪ.tə ðeə dʒʌst ɪmˈpreʃ.ənz/

I must say, short clips with consistent framing and ethical editing can actually raise public trust because they make the reporting more transparent.
/aɪ mʌst seɪ ʃɔːt klɪps wɪð kənˈsɪs.tənt ˈfreɪ.mɪŋ ænd ˈeθ.ɪ.kəl ˈed.ɪ.tɪŋ kæn ˈæk.tʃu.ə.li reɪz ˈpʌb.lɪk trʌst bɪˈkɒz ðeɪ meɪk ðiː rɪˈpɔː.tɪŋ mɔː trænˈspær.ənt/

At the end of the day, visuals are important not because they’re dramatic, but because—when properly sourced—they corroborate claims and improve comprehension.
/æt ðiː end ɒv ðiː deɪ ˈvɪʒ.u.əlz ɑː ɪmˈpɔː.tənt nɒt bɪˈkɒz ðeə drəˈmæt.ɪk bʌt bɪˈkɒz wen ˈprɒp.ə.li sɔːst ðeɪ kəˈrɒb.ə.reɪt kleɪmz ænd ɪmˈpruːv ˌkɒm.prɪˈhen.ʃən/

What can we do to help children keep creative?

Well, I think children stay creative when their intrinsic motivation is protected. That means autonomy-supportive parenting: offer choice architecture—“Do you want to build with paper or clay?”—rather than micromanaging the outcome. To be honest, intelligent limits also help: short, predictable screen time and plenty of unstructured time so they can get bored and then invent games. In other words, boredom can be a productive cue. I’d also use constraint-led prompts—“design a bridge using only ten straws”—because constraints force divergent thinking. And the feedback should be process-oriented (“I like how you iterated”) instead of score-obsessed. Come to think of it, having simple materials on hand—cardboard, tape, discarded electronics—lowers the entry cost of making. At the end of the day, a mix of autonomy, modest constraints, and process-based encouragement tends to sustain creativity.

Well, I think children stay creative when their intrinsic motivation is protected.
/wel aɪ θɪŋk ˈtʃɪl.drən steɪ kriˈeɪ.tɪv wen ðeə ɪnˈtrɪn.zɪk ˌməʊ.tɪˈveɪ.ʃən ɪz prəˈtek.tɪd/

That means autonomy-supportive parenting: offer choice architecture—“Do you want to build with paper or clay?”—rather than micromanaging the outcome.
/ðæt miːnz ɔːˈtɒn.ə.mi səˈpɔː.tɪv ˈpeə.rən.tɪŋ ˈɒf.ə tʃɔɪs ˈɑː.kɪ.tek.tʃə duː juː wɒnt tuː bɪld wɪð ˈpeɪ.pə ɔː kleɪ ˈrɑː.ðə ðæn ˈmaɪ.krəʊ.mæn.ɪdʒ.ɪŋ ðə ˈaʊt.kʌm/

To be honest, intelligent limits also help: short, predictable screen time and plenty of unstructured time so they can get bored and then invent games.
/tuː biː ˈɒn.ɪst ɪnˈtel.ɪ.dʒənt ˈlɪm.ɪts ˈɔːl.səʊ help ʃɔːt prɪˈdɪk.tə.bəl skriːn taɪm ænd ˈplen.ti ɒv ʌnˈstrʌk.tʃəd taɪm səʊ ðeɪ kæn get bɔːd ænd ðen ɪnˈvent ɡeɪmz/

In other words, boredom can be a productive cue.
/ɪn ˈʌð.ə wɜːdz ˈbɔː.dəm kæn biː eɪ prəˈdʌk.tɪv kjuː/

I’d also use constraint-led prompts—“design a bridge using only ten straws”—because constraints force divergent thinking.
/aɪd ˈɔːl.səʊ juːz kənˈstreɪnt led prɒmpts dɪˈzaɪn eɪ brɪdʒ ˈjuː.zɪŋ ˈəʊn.li ten strɔːz bɪˈkɒz kənˈstreɪnts fɔːs daɪˈvɜː.dʒənt ˈθɪŋ.kɪŋ/

And the feedback should be process-oriented (“I like how you iterated”) instead of score-obsessed.
/ænd ðiː ˈfiːd.bæk ʃʊd biː ˈprəʊ.ses ˈɔː.ri.en.tɪd aɪ laɪk haʊ juː ˈɪt.ə.reɪ.tɪd ɪnˈsted ɒv skɔː əbˈsest/

Come to think of it, having simple materials on hand—cardboard, tape, discarded electronics—lowers the entry cost of making.
/kʌm tuː θɪŋk ɒv ɪt ˈhæv.ɪŋ ˈsɪm.pəl məˈtɪə.ri.əlz ɒn hænd ˈkɑːd.bɔːd teɪp dɪˈskɑː.dɪd ɪˌlekˈtrɒn.ɪks ˈləʊ.əz ðiː ˈen.tri kɒst ɒv ˈmeɪ.kɪŋ/

At the end of the day, a mix of autonomy, modest constraints, and process-based encouragement tends to sustain creativity.
/æt ðiː end ɒv ðiː deɪ eɪ mɪks ɒv ɔːˈtɒn.ə.mi ˈmɒd.ɪst kənˈstreɪnts ænd ˈprəʊ.ses beɪst ɪnˈkʌr.ɪdʒ.mənt tendz tuː səˈsteɪn ˌkriː.eɪˈtɪv.ə.ti/

What can we do to help older children learn music?

Well, I’d say older children learn best when autonomy and structure are balanced. Give them choice of repertoire—maybe a film theme or jazz standard—while setting clear micro-goals: like eight clean bars at 80 BPM today, then spaced practice tomorrow. To be honest, formative feedback works better than one high-stakes exam: short recordings, a rubric on tone, rhythm, and interpretation, plus process-focused praise. Ensemble participation like a school band or quartet—adds social accountability and keeps them practising. And, you know, low-stakes performances in community centres help them manage nerves and build self-efficacy. At the end of the day, autonomy-supportive coaching plus consistent routines tends to sustain motivation and, ultimately, proficiency.

Well, I’d say older children learn best when autonomy and structure are balanced.
/wel aɪd seɪ ˈəʊl.də ˈtʃɪl.drən lɜːn best wen ɔːˈtɒn.ə.mi ænd ˈstrʌk.tʃə ɑː ˈbæl.ənst/

Give them choice of repertoire—maybe a film theme or jazz standard—while setting clear micro-goals: eight clean bars at 80 BPM today, then spaced practice tomorrow.
/ɡɪv ðem tʃɔɪs ɒv ˈrep.ə.twɑːr ˈmeɪ.bi eɪ fɪlm θiːm ɔː dʒæz ˈstæn.dəd waɪl ˈset.ɪŋ klɪə ˈmaɪ.krəʊ ɡəʊlz eɪt kliːn bɑːz æt ˈeɪ.ti biː piː em təˈdeɪ ðen speɪst ˈpræk.tɪs təˈmɒr.əʊ/

To be honest, formative feedback works better than one high-stakes exam: short recordings, a rubric on tone, rhythm, and interpretation, plus process-focused praise.
/tuː biː ˈɒn.ɪst ˈfɔː.mə.tɪv ˈfiːd.bæk wɜːks ˈbet.ə ðæn wʌn haɪ steɪks ɪɡˈzæm ʃɔːt rɪˈkɔː.dɪŋz eɪ ˈruː.brɪk ɒn təʊn ˈrɪð.əm ænd ɪnˌtɜː.prɪˈteɪ.ʃən plʌs ˈprəʊ.ses ˈfəʊ.kəst preɪz/

Ensemble participation—a school band or quartet—adds social accountability and keeps them practising.
/ɒnˈsɒm.bəl pɑːˌtɪs.ɪˈpeɪ.ʃən eɪ skuːl bænd ɔː kwɔːˈtet ædz ˈsəʊ.ʃəl əˌkaʊn.təˈbɪl.ə.ti ænd kiːps ðem ˈpræk.tɪ.sɪŋ/

And, you know, low-stakes performances in community centres help them manage nerves and build self-efficacy.
/ænd juː nəʊ ləʊ steɪks pəˈfɔː.mən.sɪz ɪn kəˈmjuː.nə.ti ˈsen.təz help ðem ˈmæn.ɪdʒ nɜːvz ænd bɪld self ˈef.ɪ.kə.si/

At the end of the day, autonomy-supportive coaching plus consistent routines tends to sustain motivation and, ultimately, proficiency.
/æt ðiː end ɒv ðiː deɪ ɔːˈtɒn.ə.mi səˈpɔː.tɪv ˈkəʊ.tʃɪŋ plʌs kənˈsɪs.tənt ruːˈtiːnz tendz tuː səˈsteɪn ˌməʊ.tɪˈveɪ.ʃən ænd ˈʌl.tɪ.mət.li prəˈfɪʃ.ən.si/

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