Speaking Aug 21

Describe a person who thinks music is important and enjoys music

Let me see… I’m going to talk about Li Na, a senior PhD in my department whom I first met at a graduate seminar on quantum field theory. After the talk, we ended up in the same study group, and I learned she is also a trained cellist. She gravitates toward Baroque repertoire, especially Bach’s Suites, and she listens to historically informed performances while drafting proofs.

She argues that music is important because it develops attentional control, pattern recognition, and a sense of internal structure—the same faculties we depend on in theoretical physics. Practising a fugue, she says, is comparable to tracing symmetries in a Lagrangian: you cultivate discipline, precision, and aesthetic judgment. She also believes chamber music teaches collaborative sensitivity—listening before responding—which translates into more civil, productive research meetings.

I must say I admire her intellectual poise. When my derivations feel chaotic, she suggests a short “Bach break,” and, to my surprise, the clarity returns. At the end of the day, I value her not only as a role model of perseverance but also as someone who integrates art and science in a way that makes both more coherent and, frankly, more humane.

Let me see… I’m going to talk about Li Na, a senior PhD in my department whom I first met at a graduate seminar on quantum field theory.
/let miː siː aɪm ˈɡəʊ.ɪŋ tuː tɔːk əˈbaʊt liː nɑː eɪ ˈsiː.ni.ə ˌpiː.eɪtʃˈdiː ɪn maɪ dɪˈpɑːt.mənt huːm aɪ fɜːst met æt eɪ ˈɡrædʒ.u.ət ˈsem.ɪ.nɑː ɒn ˈkwɒn.təm fiːld ˈθɪə.ri/

After the talk, we ended up in the same study group, and I learned she is also a trained cellist.
/ˈɑːf.tə ðiː tɔːk wiː ˈen.dɪd ʌp ɪn ðiː seɪm ˈstʌd.i ɡruːp ænd aɪ lɜːnd ʃiː ɪz ˈɔːl.səʊ eɪ treɪnd ˈtʃel.ɪst/

She gravitates toward Baroque repertoire, especially Bach’s Suites, and she listens to historically informed performances while drafting proofs.
/ʃiː ˈɡræv.ɪ.teɪts təˈwɔːd bəˈrɒk ˈrep.ə.twɑːr ɪˈspeʃ.əli bɑːhəs swiːts ænd ʃiː ˈlɪs.ənz tuː hɪˈstɒr.ɪ.kəl.i ɪnˈfɔːmd pəˈfɔː.mən.sɪz waɪl ˈdrɑːf.tɪŋ pruːfs/

She argues that music is important because it develops attentional control, pattern recognition, and a sense of internal structure—the same faculties we depend on in theoretical physics.
/ʃiː ˈɑːɡ.juːz ðæt ˈmjuː.zɪk ɪz ɪmˈpɔː.tənt bɪˈkɒz ɪt dɪˈvel.əps əˈten.ʃən.əl kənˈtrəʊl ˈpæt.ən ˌrek.əɡˈnɪʃ.ən ænd eɪ sens ɒv ɪnˈtɜː.nəl ˈstrʌk.tʃə ðiː seɪm ˈfæk.əl.tiz wiː dɪˈpend ɒn ɪn ˌθɪəˈret.ɪ.kəl ˈfɪz.ɪks/

Practising a fugue, she says, is comparable to tracing symmetries in a Lagrangian: you cultivate discipline, precision, and aesthetic judgment.
/ˈpræk.tɪ.sɪŋ eɪ fjuːɡ ʃiː sez ɪz ˈkɒm.pə.rə.bəl tuː ˈtreɪ.sɪŋ ˈsɪmətriz ɪn eɪ ləˈɡrɑːn.dʒi.ən juː ˈkʌl.tɪ.veɪt ˈdɪsəplɪn prɪˈsɪʒ.ən ænd iːsˈθet.ɪk ˈdʒʌdʒ.mənt/

She also believes chamber music teaches collaborative sensitivity—listening before responding—which translates into more civil, productive research meetings.
/ʃiː ˈɔːl.səʊ bɪˈliːvz ˈtʃeɪm.bə ˈmjuː.zɪk ˈtiː.tʃɪz kəˈlæb.ə.rə.tɪv ˌsensəˈtɪvəti ˈlɪs.ən.ɪŋ bɪˈfɔː rɪˈspɒn.dɪŋ wɪtʃ trænzˈleɪts ˈɪn.tuː mɔː ˈsɪv.əl prəˈdʌk.tɪv rɪˈsɜːtʃ ˈmiː.tɪŋz/

I must say I admire her intellectual poise.
/aɪ mʌst seɪ aɪ ədˈmaɪə hɜː ˌɪn.təlˈek.tʃu.əl pɔɪz/

When my derivations feel chaotic, she suggests a short “Bach break,” and, to my surprise, the clarity returns.
/wen maɪ ˌder.ɪˈveɪ.ʃənz fiːl keɪˈɒt.ɪk ʃiː səˈdʒests eɪ ʃɔːt bɑːk breɪk ænd tuː maɪ səˈpraɪz ðə ˈklær.ə.ti rɪˈtɜːnz/

At the end of the day, I value her not only as a role model of perseverance but also as someone who integrates art and science in a way that makes both more coherent and, frankly, more humane.
/æt ðiː end ɒv ðiː deɪ aɪ ˈvæl.juː hɜː nɒt ˈəʊn.li æz eɪ rəʊl ˈmɒd.əl ɒv ˌpɜː.sɪˈvɪə.rəns bʌt ˈɔːl.səʊ æz ˈsʌm.wʌn huː ˈɪn.tɪ.ɡreɪts ɑːt ænd ˈsaɪ.əns ɪn eɪ weɪ ðæt meɪks bəʊð mɔː kəʊˈhɪə.rənt ænd ˈfræŋk.li mɔː hjuːˈmeɪn/

Part 3

What do you think about playing music for children in class?

Well, I think playing music can be beneficial when it is purposeful. Low-volume, instrumental pieces can stabilise arousal levels, reduce background chatter, and create a predictable classroom climate at the start of a lesson. You know, as a student who sometimes tutors younger pupils in our community centre, I’ve seen how a two-minute instrumental prelude helps children transition from breaktime to focused work. In other words, music can serve as attentional priming: it signals routine, lowers anxiety, and promotes on-task behaviour. At the end of the day, if teachers align the music with the task—calm tempos for reading, slightly brisker rhythms for art or crafts—it supports self-regulation rather than distracting from learning.

Well, I think playing music can be beneficial when it is purposeful.
/wel aɪ θɪŋk ˈpleɪ.ɪŋ ˈmjuː.zɪk kæn biː ˌben.ɪˈfɪʃ.əl wen ɪt ɪz ˈpɜː.pəs.fəl/

Low-volume, instrumental pieces can stabilise arousal levels, reduce background chatter, and create a predictable classroom climate at the start of a lesson.
/ləʊ ˈvɒl.juːm ˌɪn.strəˈmen.təl ˈpiː.sɪz kæn ˈsteɪbəlaɪz əˈraʊ.zəl ˈlev.əlz rɪˈdjuːs ˈbæk.ɡraʊnd ˈtʃæt.ər ænd kriˈeɪt eɪ prɪˈdɪk.tə.bəl ˈklɑːs.ruːm ˈklaɪ.mət æt ðiː stɑːt ɒv eɪ ˈles.ən/

You know, as a student who sometimes tutors younger pupils in our community centre, I’ve seen how a two-minute instrumental prelude helps children transition from breaktime to focused work.
/juː nəʊ æz eɪ ˈstjuː.dənt huː ˈsʌm.taɪmz ˈtʃuː.təz ˈjʌŋ.ɡər ˈpjuː.pəlz ɪn aʊə kəˈmjuː.nə.ti ˈsen.tə aɪv siːn haʊ eɪ tuː ˈmɪn.ɪt ˌɪn.strəˈmen.təl ˈprel.juːd helps ˈtʃɪl.drən trænˈzɪʃ.ən frɒm ˈbreɪk.taɪm tuː ˈfəʊ.kəst wɜːk/

In other words, music can serve as attentional priming: it signals routine, lowers anxiety, and promotes on-task behaviour.
/ɪn ˈʌð.ə wɜːdz ˈmjuː.zɪk kæn sɜːv æz əˈten.ʃən.əl ˈpraɪ.mɪŋ ɪt ˈsɪɡ.nəlz ruːˈtiːn ˈləʊ.əz æŋˈzaɪ.ə.ti ænd prəˈməʊts ɒn tɑːsk bɪˈheɪ.vjər/

At the end of the day, if teachers align the music with the task—calm tempos for reading, slightly brisker rhythms for art or crafts—it supports self-regulation rather than distracting from learning.
/æt ðiː end ɒv ðiː deɪ ɪf ˈtiː.tʃəz əˈlaɪn ðiː ˈmjuː.zɪk wɪð ðiː tɑːsk kɑːm ˈtem.pəʊz fɔː ˈriː.dɪŋ ˈslaɪt.li ˈbrɪs.kə ˈrɪð.əmz fɔː ɑːt ɔː krɑːfts ɪt səˈpɔːts ˌself.reɡ.jəˈleɪ.ʃən ˈrɑː.ðə ðæn dɪˈstræk.tɪŋ frɒm ˈlɜː.nɪŋ/

Why do many teachers incorporate music into the classroom?

Well, many teachers use music because it supports attentional regulation and memory encoding. Low-volume instrumental tracks can stabilise arousal levels, which increases time-on-task during reading or independent work. You know, rhythmic patterns also act as retrieval cues: a short jingle attached to a formula or spelling rule improves recall through dual-coding and context-dependent memory. In STEM clubs I help with, a two-minute “focus track” at the start of problem-solving reduces chatter and shortens transition time. At the end of the day, when music is aligned with task demands—instrumental for literacy, steady tempo for drills—it lowers cognitive load and makes instruction more efficient.

Well, many teachers use music because it supports attentional regulation and memory encoding.
/wel ˈmen.i ˈtiː.tʃəz juːz ˈmjuː.zɪk bɪˈkɒz ɪt səˈpɔːts əˈten.ʃən.əl ˌreɡ.jəˈleɪ.ʃən ænd ˈmem.əri ɪnˈkəʊ.dɪŋ/

Low-volume instrumental tracks can stabilise arousal levels, which increases time-on-task during reading or independent work.
/ləʊ ˈvɒl.juːm ˌɪn.strəˈmen.təl træks kæn ˈsteɪ.bə.laɪz əˈraʊ.zəl ˈlev.əlz wɪtʃ ɪnˈkriː.sɪz taɪm ɒn tɑːsk ˈdʒʊə.rɪŋ ˈriː.dɪŋ ɔː ˌɪn.dɪˈpen.dənt wɜːk/

You know, rhythmic patterns also act as retrieval cues: a short jingle attached to a formula or spelling rule improves recall through dual-coding and context-dependent memory.
/juː nəʊ ˈrɪð.mɪk ˈpæt.ənz ˈɔːl.səʊ ækt æz rɪˈtriː.vəl kjuːz eɪ ʃɔːt ˈdʒɪŋ.ɡəl əˈtætʃt tuː eɪ ˈfɔː.mjʊ.lə ɔː ˈspel.ɪŋ ruːl ɪmˈpruːvz ˈriː.kɔːl θruː ˈdʒuː.əl ˈkəʊ.dɪŋ ænd ˈkɒn.tekst dɪˈpen.dənt ˈmem.əri/

In STEM clubs I help with, a two-minute “focus track” at the start of problem-solving reduces chatter and shortens transition time.
/ɪn stem klʌbz aɪ help wɪð eɪ tuː ˈmɪn.ɪt ˈfəʊ.kəs træk æt ðiː stɑːt ɒv ˈprɒb.ləm ˈsɒlv.ɪŋ rɪˈdjuː.sɪz ˈtʃæt.ə ænd ˈʃɔː.tənz trænˈzɪʃ.ən taɪm/

At the end of the day, when music is aligned with task demands—instrumental for literacy, steady tempo for drills—it lowers cognitive load and makes instruction more efficient.
/æt ðiː end ɒv ðiː deɪ wen ˈmjuː.zɪk ɪz əˈlaɪnd wɪð tɑːsk dɪˈmɑːndz ˌɪn.strəˈmen.təl fɔː ˈlɪt.ər.ə.si ˈsted.i ˈtem.pəʊ fɔː drɪlz ɪt ˈləʊ.əz ˈkɒɡ.nə.tɪv ləʊd ænd meɪks ɪnˈstrʌk.ʃən mɔː ɪˈfɪʃ.ənt/

Do you think there are any advantages to a shop with music playing?

Well, I do think background music can improve the consumer experience when it is curated thoughtfully. Appropriate, low-volume music shapes ambience, nudges an approach orientation, and lengthens dwell time—people browse longer in a calm environment. You know, tempo also matters: slower, instrumental tracks in a campus bookstore reduce perceived waiting time at the till, while slightly faster rhythms in a café keep the queue moving without stress. In other words, music modulates arousal levels and time perception, which can increase basket size without aggressive sales tactics. At the end of the day, well-chosen music is a subtle form of behavioural design that supports both comfort and revenue.

Well, I do think background music can improve the consumer experience when it is curated thoughtfully.
/wel aɪ duː θɪŋk ˈbæk.ɡraʊnd ˈmjuː.zɪk kæn ɪmˈpruːv ðiː kənˈsjuː.mə ɪkˈspɪə.ri.əns wen ɪt ɪz kjʊəˈreɪ.tɪd ˈθɔːt.fəl.i/

Appropriate, low-volume music shapes ambience, nudges an approach orientation, and lengthens dwell time—people browse longer in a calm environment.
/əˈprəʊ.pri.ət ləʊ ˈvɒl.juːm ˈmjuː.zɪk ʃeɪps ˈæm.bi.əns ˈnʌdʒ.ɪz æn əˈprəʊtʃ ˌɔː.ri.enˈteɪ.ʃən ænd ˈleŋ.θənz dwel taɪm ˈpiː.pəl braʊz ˈlɒŋ.ɡə ɪn eɪ kɑːm ɪnˈvaɪ.rən.mənt/

You know, tempo also matters: slower, instrumental tracks in a campus bookstore reduce perceived waiting time at the till, while slightly faster rhythms in a café keep the queue moving without stress.
/juː nəʊ ˈtem.pəʊ ˈɔːl.səʊ ˈmæt.əz ˈsləʊ.ə ˌɪn.strəˈmen.təl træks ɪn eɪ ˈkæm.pəs ˈbʊk.stɔː rɪˈdjuːs pəˈsiːvd ˈweɪ.tɪŋ taɪm æt ðiː tɪl waɪl ˈslaɪt.li ˈfɑː.stə ˈrɪð.əmz ɪn eɪ ˈkæf.eɪ kiːp ðiː kjuː ˈmuː.vɪŋ wɪˈðaʊt stres/

In other words, music modulates arousal levels and time perception, which can increase basket size without aggressive sales tactics.
/ɪn ˈʌð.ə wɜːdz ˈmjuː.zɪk ˈmɒd.jʊ.leɪts əˈraʊ.zəl ˈlev.əlz ænd taɪm pəˈsep.ʃən wɪtʃ kæn ɪnˈkriːs ˈbɑː.skɪt saɪz wɪˈðaʊt əˈɡres.ɪv seɪlz ˈtæk.tɪks/

At the end of the day, well-chosen music is a subtle form of behavioural design that supports both comfort and revenue.
/æt ðiː end ɒv ðiː deɪ wel ˈtʃəʊ.zən ˈmjuː.zɪk ɪz eɪ ˈsʌt.əl fɔːm ɒv bɪˈheɪ.vjə.rəl dɪˈzaɪn ðæt səˈpɔːts bəʊð ˈkʌm.fət ænd ˈrev.ən.juː/

Would people's shopping behaviour be affected in a shop with music?

Well, I think music can influence shopping behaviour through arousal regulation and time perception. Slower, low-volume instrumental tracks tend to reduce perceived waiting time and increase dwell time, so customers browse more and, you know, consider additional items. By contrast, very fast or loud music can push people to move quickly, which may raise throughput but lower average basket size in contexts where deliberation matters—say, a campus bookstore near my lab. In other words, the soundtrack subtly steers pace, attention, and impulse control, and that often translates into different purchasing patterns. At the end of the day, curated, moderate-tempo music supports comfort and, consequently, more thoughtful spending.

Well, I think music can influence shopping behaviour through arousal regulation and time perception.
/wel aɪ θɪŋk ˈmjuː.zɪk kæn ˈɪn.flu.əns ˈʃɒp.ɪŋ bɪˈheɪ.vjə θruː əˈraʊ.zəl ˌreɡ.jəˈleɪ.ʃən ænd taɪm pəˈsep.ʃən/

Slower, low-volume instrumental tracks tend to reduce perceived waiting time and increase dwell time, so customers browse more and, you know, consider additional items.
/ˈsləʊ.ə ləʊ ˈvɒl.juːm ˌɪn.strəˈmen.təl træks tend tuː rɪˈdjuːs pəˈsiːvd ˈweɪ.tɪŋ taɪm ænd ɪnˈkriːs dwel taɪm səʊ ˈkʌs.tə.məz braʊz mɔː ænd juː nəʊ kənˈsɪd.ə əˈdɪʃ.ən.əl ˈaɪ.təmz/

By contrast, very fast or loud music can push people to move quickly, which may raise throughput but lower average basket size in contexts where deliberation matters—say, a campus bookstore near my lab.
/baɪ ˈkɒn.trɑːst ˈver.i fɑːst ɔː laʊd ˈmjuː.zɪk kæn pʊʃ ˈpiː.pəl tuː muːv ˈkwɪk.li wɪtʃ meɪ reɪz ˈθruː.puːt bʌt ˈləʊ.ə ˈæv.ər.ɪdʒ ˈbɑː.skɪt saɪz ɪn ˈkɒn.teksts weə dɪˌlɪb.əˈreɪ.ʃən ˈmæt.əz seɪ eɪ ˈkæm.pəs ˈbʊk.stɔː nɪə maɪ læb/

In other words, the soundtrack subtly steers pace, attention, and impulse control, and that often translates into different purchasing patterns.
/ɪn ˈʌð.ə wɜːdz ðiː ˈsaʊnd.træk ˈsʌt.li stɪəz peɪs əˈten.ʃən ænd ˈɪm.pʌls kənˈtrəʊl ænd ðæt ˈɒf.ən trænzˈleɪts ˈɪn.tuː ˈdɪf.ər.ənt ˈpɜː.tʃəs.ɪŋ ˈpæt.ənz/

At the end of the day, curated, moderate-tempo music supports comfort and, consequently, more thoughtful spending.
/æt ðiː end ɒv ðiː deɪ ˈkjʊə.reɪ.tɪd ˈmɒd.ər.ət ˈtem.pəʊ ˈmjuː.zɪk səˈpɔːts ˈkʌm.fət ænd ˈkɒn.sɪ.kwənt.li mɔː ˈθɔːt.fəl ˈspen.dɪŋ/

What do you think would be the effect of background music in a film?

Well, background music primarily shapes emotional appraisal and the viewer’s point-of-view. A non-diegetic score can assign valence—tension, tenderness, or irony—well before dialogue does, and a leitmotif ties character arcs together, giving the plot thematic unity. You know, subtle harmonic shifts can foreshadow reversals, while sparse instrumentation preserves verisimilitude in intimate scenes. Conversely, heavy-handed scoring feels manipulative and reduces authenticity. In other words, music functions as narrative glue: it calibrates empathy, signals moral framing, and smooths transitions so the story feels coherent rather than episodic. At the end of the day, when tone and image are congruent, the audience experiences deeper identification with the characters.

Well, background music primarily shapes emotional appraisal and the viewer’s point-of-view.
/wel ˈbæk.ɡraʊnd ˈmjuː.zɪk praɪˈmer.əl.i ʃeɪps ɪˈməʊ.ʃən.əl əˈpreɪ.zəl ænd ðiː ˈvjuː.əz pɔɪnt ɒv vjuː/

A non-diegetic score can assign valence—tension, tenderness, or irony—well before dialogue does, and a leitmotif ties character arcs together, giving the plot thematic unity.
/eɪ ˌnɒn.daɪ.əˈdʒet.ɪk skɔː kæn əˈsaɪn ˈveɪ.ləns ˈten.ʃən ˈten.də.nəs ɔː ˈaɪ.rə.ni wel bɪˈfɔː ˈdaɪ.ə.lɒɡ dʌz ænd eɪ ˈlaɪt.məʊ.tiːf taɪz ˈkær.ək.tə ɑːks təˈɡeð.ə ˈɡɪv.ɪŋ ðiː plɒt θiːˈmæt.ɪk ˈjuː.nə.ti/

You know, subtle harmonic shifts can foreshadow reversals, while sparse instrumentation preserves verisimilitude in intimate scenes.
/juː nəʊ ˈsʌt.əl hɑːˈmɒn.ɪk ʃɪfts kæn fɔːˈʃæd.əʊ rɪˈvɜː.səlz waɪl spɑːs ˌɪn.strə.menˈteɪ.ʃən prɪˈzɜːvz ˌver.ɪ.sɪˈmɪl.ɪ.tʃuːd ɪn ˈɪn.tɪ.mət siːnz/

Conversely, heavy-handed scoring feels manipulative and reduces authenticity.
/ˈkɒnvɜːsli ˌhev.iˈhæn.dɪd ˈskɔː.rɪŋ fiːlz məˈnɪp.jə.lə.tɪv ænd rɪˈdjuː.sɪz ˌɔː.θenˈtɪsə.ti/

In other words, music functions as narrative glue: it calibrates empathy, signals moral framing, and smooths transitions so the story feels coherent rather than episodic.
/ɪn ˈʌð.ə wɜːdz ˈmjuː.zɪk ˈfʌŋk.ʃənz æz ˈnær.ə.tɪv ɡluː ɪt ˈkæl.ɪ.breɪts ˈem.pə.θi ˈsɪɡ.nəlz ˈmɒr.əl ˈfreɪ.mɪŋ ænd smuːðz trænˈzɪʃ.ənz səʊ ðiː ˈstɔː.ri fiːlz kəʊˈhɪə.rənt ˈrɑː.ðə ðæn ˌep.ɪˈsɒd.ɪk/

At the end of the day, when tone and image are congruent, the audience experiences deeper identification with the characters.
/æt ðiː end ɒv ðiː deɪ wen təʊn ænd ˈɪm.ɪdʒ ɑː ˈkɒŋ.ɡru.ənt ðiː ˈɔː.di.əns ɪkˈspɪə.ri.ənsɪz ˈdiː.pə aɪˌden.tɪ.fɪˈkeɪ.ʃən wɪð ðiː ˈkær.ək.təz/

Why are musical movies so popular?

Well, I think musical films are popular because songs deliver emotional immediacy and narrative compression. A well-placed number can communicate backstory, motive and conflict in three minutes, creating strong affective resonance without lengthy dialogue. You know, leitmotifs and recurring hooks act as mnemonic cues, so audiences remember character arcs long after the credits. In other words, music plus imagery provides dual coding, which deepens processing and makes the story feel more coherent and memorable. At the end of the day, that blend of narrative efficiency and emotion is hard to match in straight drama.

Well, I think musical films are popular because songs deliver emotional immediacy and narrative compression.
/wel aɪ θɪŋk ˈmjuː.zɪ.kəl fɪlmz ɑː ˈpɒp.jə.lə bɪˈkɒz sɒŋz dɪˈlɪv.ə ɪˈməʊ.ʃən.əl ɪˈmiː.di.ə.si ænd ˈnær.ə.tɪv kəmˈpreʃ.ən/

A well-placed music can communicate backstory, motive and conflict in three minutes, creating strong affective resonance without lengthy dialogue.
/eɪ wel pleɪst ˈnʌm.bə kæn kəˈmjuː.nɪ.keɪt ˈbæk.stɔː.ri ˈməʊ.tiːv ænd ˈkɒn.flɪkt ɪn θriː ˈmɪn.ɪts kriˈeɪ.tɪŋ strɒŋ əˈfek.tɪv ˈrez.ə.nəns wɪˈðaʊt ˈleŋ.θi ˈdaɪ.ə.lɒɡ/

You know, leitmotifs and recurring hooks act as mnemonic cues, so audiences remember character arcs long after the credits.
/juː nəʊ ˈlaɪt.məʊ.tiːfs ænd rɪˈkɜː.rɪŋ hʊks ækt æz nɪˈmɒn.ɪk kjuːz səʊ ˈɔː.di.ən.sɪz rɪˈmem.bə ˈkær.ək.tə ɑːks lɒŋ ˈɑːf.tə ðiː ˈkred.ɪts/

In other words, music plus imagery provides dual coding, which deepens processing and makes the story feel more coherent and memorable.
/ɪn ˈʌð.ə wɜːdz ˈmjuː.zɪk plʌs ˈɪm.ɪ.dʒər.i prəˈvaɪdz ˈdʒuː.əl ˈkəʊ.dɪŋ wɪtʃ ˈdiː.pənz ˈprəʊ.ses.ɪŋ ænd meɪks ðiː ˈstɔː.ri fiːl mɔː kəʊˈhɪə.rənt ænd ˈmem.ər.ə.bəl/

At the end of the day, that blend of narrative efficiency and emotion is hard to match in straight drama.
/æt ðiː end ɒv ðiː deɪ ðæt blend ɒv ˈnær.ə.tɪv ɪˈfɪʃ.ən.si ænd ɪˈməʊ.ʃən ɪz hɑːd tuː mætʃ ɪn streɪt ˈdrɑː.mə/

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