PAPER 4 LISTENING Recording Information General Description Paper ... · PDF fileGeneral Description Paper Format The paper contains four parts. Timing Approximately 40 minutes. Number

Page 81

General Description

Paper Format

The paper contains four parts.

Timing

Approximately 40 minutes.

Number of Questions

28.

Task Types

Multiple choice, sentence completion, matching.

Text Types

Interview, discussion, conversation, radio play, talk, speech,lecture, commentary, documentary, instructions.

Recording Information

Each text is heard twice. Recordings will contain a variety ofaccents corresponding to standard variants of native speakeraccent, and to non-native speaker accents that approximateto the norms of native speaker accents. Background soundsmay be included before speaking begins, to providecontextual information.

Answer Format

Candidates indicate their answers by shading lozenges orwriting a letter, word or words on an answer sheet.Candidates should use a soft pencil (B or HB) and mark theiranswers firmly. Candidates should use an eraser to rub outany answer they wish to change.

Marks

Each question in this paper carries one mark.

PA P E R 4 L I S T E N I N G

PART TASK TYPE AND FORMAT TASK FOCUS NUMBER OF QUESTIONS

Three-option multiple choice

Four short extracts from monologues or texts involvinginteracting speakers with two questions on each extract.

Gist, detail, function, purpose,topic, speaker, addressee,feeling, attitude, opinion, etc.

81

Sentence completion

Candidates complete gaps in sentences with informationfrom a monologue or prompted monologue.

Specific information, statedopinion

92

Four-option multiple choice

A text involving interacting speakers (e.g. interview) withmultiple-choice questions.

Opinion, gist, detail, inference 53

Three-way matching

Candidates match statements on a text to either of twospeakers or to both when they express agreement.

Stated and non-stated opinion,agreement and disagreement

64

Page 82

Introduction

The Listening paper consists of four parts and a total of sevenlistening texts. The paper has a standard structure and formatso that candidates will know what to expect in each part ofthe paper. The range of texts and task types reflects thevariety of listening situations which candidates at this levelneed to be able to cope with.

The instructions for each task are heard on the tape and arefollowed by a pause for the candidates to study the task for thatsection. Candidates should use this time to study the questionson the page to help them predict what they will hear. Thismirrors what happens in real-life listening situations when weall bring a variety of extra areas of knowledge to what we hear,such as knowledge of context, the speaker and/or the subject.Activities which help candidates understand the type of textthey are listening to and the purpose of the tasks will guidecandidates towards the appropriate listening strategies to use.Helping learners to develop strategies to prepare for listening isimportant for candidates’ confidence.

The best preparation for the Listening paper is exposure to, andengagement with, a wide range of spoken English, including arange of voices, accents and styles of delivery. Newsbroadcasts, documentaries and discussions all provide exposureto suitable texts, as do some forms of light entertainment anddrama broadcast in English. Classroom discussion activities alsoprovide an invaluable source of listening practice.

Candidates should familiarise themselves with the format ofthe paper and the task types. It is valuable to work through asample paper before the examination takes place and to havepractice in completing the answer sheets. Five minutes areprovided at the end of the recording for candidates to transfertheir answers onto the answer sheets.

Part 1

Part 1 consists of four unrelated short extracts with two three-option multiple-choice questions on each text. These extractsmay be self-contained monologues, dialogues or texts involvingone or more speakers or may be parts of longer texts.Candidates should read the introductory sentence to eachextract carefully as this gives information which will help tocontextualise what they will hear. Extracts are taken from awide range of contexts and each question focuses on adifferent aspect of each text. Candidates can prepare for thispart by listening to short extracts of speech and concentratingon the main points of what they hear, as well as predicting thepurpose of the text and the attitudes and opinions expressed.

Part 2

Part 2 consists of one text, presented as a monologue orprompted monologue (also there may be a presenterintroducing the speaker), in a semi-formal or neutral style.

Texts typically take the form of talks, lectures and broadcastsof an informative nature aimed at a non-specialist audience.A series of nine independent sentences reports the main ideasfrom the text and candidates show their understanding ofwhat they have heard by completing gaps in these sentences.The task focuses on the retrieval of specific information fromthe text as well as stated opinions and attitudes.

Answers are short, generally in the form of single words ornoun groups, must be spelled correctly and must fit into thegrammatical structure of the sentence. Candidates need tocheck carefully, therefore, that their answers produce a finalcompleted sentence which is both coherent andgrammatically correct, as well as including the relevantinformation. Candidates should be discouraged fromattempting to write long or complicated answers, the size ofthe boxes on the question paper and answer sheet serving asa guide to the length of expected responses.

The questions follow the order of the information found in thetext, and candidates will need to write down actual words thatare heard on the tape. There is no need to find synonyms or toparaphrase ideas, but candidates should aim to complete thetask with the information given in the manner most appropriateto the task.

Part 3

Part 3 consists of one text with interacting speakers. Textstypically take the form of broadcast interviews anddiscussions in which opinions and attitudes are expressed,both explicitly and implicitly. A series of five four-optionmultiple-choice questions focuses on a detailedunderstanding of the points raised. Activities which helpcandidates recognise and evaluate attitude and opinion andinfer the underlying meaning of what they hear wouldprovide useful practice. Questions follow the order of theinformation found in the text, but the final question may testglobal understanding of the text as a whole.

Part 4

Part 4 consists of one text with interacting speakers. Textstypically take the form of informal discussions in whichopinions about a topic are exchanged and agreement anddisagreement are expressed. There are two main speakers,one male and one female to facilitate identification, althoughsome texts may also feature a presenter’s introduction and/orquestions. A series of six statements summarises the mainpoints raised in the text and forms the basis of a three-waymatching task. Candidates are asked to match each statementto the speaker who expresses that view, or to indicate wherespeakers are in agreement.

Texts contain the type of language used between peers whendiscussing everyday topics of common interest. Candidatesshould have practice in recognising the role of stress andintonation in supporting meaning, as well as through what isdirectly stated.

P R E PA R I N G F O R T H E L I S T E N I N G PA P E R

Page 83

L I S T E N I N G S A M P L E PA P E R ( 1 )

CandidateCentre Number

Candidate

UNIVERSITY OF CAMBRIDGE LOCAL EXAMINATIONS SYNDICATE

Examinations in English as a Foreign Language

CERTIFICATE OF PROFICIENCY IN ENGLISH

PAPER 4 Listening

SAMPLE PAPER 1 Approx. 40 minutes

Additional materials:Answer sheetSoft clean eraserSoft pencil (type B or HB is recommended)

TIME Approx. 40 minutes

INSTRUCTIONS TO CANDIDATES

Do not open this booklet until you are told to do so.

Write your name, Centre number and candidate number in the spaces at the top of this page and onthe answer sheet unless this has already been done for you.

There are twenty-eight questions in this paper.

Answer all questions.

Write your answers in the spaces provided on the question paper. You will have five minutes at theend to copy your answers onto the separate answer sheet. Use a soft pencil.

At the end of the test, you should hand in both the question paper and the answer sheet.

INFORMATION FOR CANDIDATES


You will hear each piece twice. There will be a pause before each piece to allow you to look at thequestions and other pauses to let you think about your answers.

This question paper consists of 6 printed pages and 2 blank pages.

[Turn over

Page 84

2

Part

1

You w

ill h

ear

four

diffe

rent extr

acts

. F

or

questions 1

-8, choose t

he a

nsw

er

(A,

B o

r C

) w

hic

h f

its b

est

accord

ing

to w

hat

you h

ear.

T

here

are

tw

o q

uestions f

or

each e

xtr

act.

Extr

act

On

e

You h

ear

a m

an r

em

inis

cin

g a

bout th

e isla

nd h

e liv

ed o

n a

s a

child

.

1H

ow

does h

e f

eel about th

e Isle

of W

ight?

A

He’s

aw

are

of

its lim

itations.

B

H

e’s

gro

wn f

onder

of

it.

1

C

H

e’s

com

e to r

espect

it.

2H

ow

did

he f

eel duri

ng

the p

oetr

y r

ecital?

A

pro

ud

B

em

barr

assed

2

C

confu

sed

Extr

act

Tw

o

You h

ear

two f

riends t

alk

ing

about

advert

isem

ents

for

cars

.

3W

hat do they d

isagre

e a

bout?

A

th

e e

xte

nt

to w

hic

h c

ar

advert

isin

g h

as c

hanged

B

th

e e

ffectiveness o

f curr

ent

car

advert

isem

ents

3

C

th

e n

eed f

or

advert

isers

to p

redic

t cultura

l chang

es

4W

hat is

the w

om

an’s

vie

w o

f m

ore

recent car

advert

isem

ents

?

A

T

hey a

re e

qually

patr

onis

ing.

B

T

hey a

re m

ore

info

rmative.

4

C

T

hey a

re m

ore

realis

tic.

3

[Tu

rn o

ver

Extr

act

Th

ree

You h

ear

a m

usic

ian t

alk

ing

about th

e instr

um

ent

he p

lays,

calle

d a

‘m

oog

’ synth

esiz

er.

5T

he s

peaker

com

pare

s m

usic

and p

ain

ting

in o

rder

to e

mphasis

e the instr

um

ent’s

A

pre

cis

ion.

B

orig

inalit

y.

5

C

vers

atilit

y.

6T

he s

peaker

com

pare

s the ‘m

oog

’ to

a tam

bourine in term

s o

f

A

th

e im

pact

it h

as.

B

how

it

is a

mplif

ied.

6

C

its f

lexib

le n

atu

re.

Extr

act

Fo

ur

You h

ear

part

of

a s

port

s p

revie

w p

rog

ram

me o

n t

he r

adio

.

7In

the s

peaker’

s o

pin

ion,

what

expla

ins t

he C

am

bri

dg

e team

’s r

ecent

lack o

f success?

A

th

e a

ttitude o

f th

e c

oach

B

th

e a

bsence o

f cert

ain

pla

yers

7

C

th

e q

ualit

y o

f th

e o

ppositio

n

8W

hy w

ill S

atu

rday b

e d

ifficult f

or

Lis

a W

ain

wrig

ht?

A

She is n

ot

com

ple

tely

fit.

B

S

he h

as d

isag

reed w

ith t

he c

oach.

8

C

S

he m

ay b

e r

epla

ced a

s c

apta

in.

Page 85

4

Part

2

You w

ill h

ear

a r

adio

report

about

a s

pecie

s o

f sm

all

marine c

reatu

re c

alle

d t

he s

ea d

rag

on.

For

questions 9

-17,

com

ple

te the s

ente

nces w

ith a

word

or

short

phra

se.

Chri

stine M

yers

report

s that

9 a

re v

ery

concern

ed a

bout th

e f

utu

re o

f sea d

rag

ons.

Div

ers

oft

en m

ista

ke a

‘le

afy

’ sea d

rag

on f

or

10

The b

ody a

nd s

pik

es o

f a s

ea d

rag

on r

esem

ble

those o

f an

11

Chri

stine c

om

pare

s t

he m

ovem

ent

of th

e s

ea d

rag

on to t

hat

of

a12

Lik

e o

ther

rela

ted types o

f m

arine c

reatu

re,

th

e s

ea d

rag

on feeds o

n13

and p

lankto

n.

The c

aptu

re o

f sea d

rag

ons for

use in

14

thre

ate

ns t

he s

pecie

s.

Caring

for

sea d

rag

ons in

15

is p

roble

matic.

Chri

stine s

ays t

here

is insuff

icie

nt

16

ag

ain

st th

e c

aptu

re o

f sea d

rag

ons in A

ustr

alia

.

There

is a

feelin

g that

too m

any

17

may h

ave b

een g

iven o

ut

to c

olle

cto

rs o

f sea d

ragons.

5

[Tu

rn o

ver

Part

3

You w

ill h

ear

an inte

rvie

w w

ith N

oel R

ichle

r, w

ho r

ecently t

ook a

boat

dow

n t

he C

olo

rado R

iver

in t

he

US

A.

For

questions 1

8-2

2,

choose t

he a

nsw

er

(A,

B,

C o

r D

) w

hic

h f

its b

est

accord

ing t

o w

hat

you

hear.

18

Noel had m

isju

dg

ed h

is r

eactions to b

ein

g o

n the r

iver

because

A

he h

ad thoug

ht

the t

rip w

ould

be long

er.

B

he h

ad m

isin

terp

rete

d d

raw

ing

s o

f th

e r

iver

valle

y.

18

C

it w

as u

nlik

e h

is e

xperi

ence o

f clim

bin

g.

D

it w

as m

ore

dang

ero

us than h

e h

ad im

ag

ined.

19

Accord

ing t

o N

oel, w

hat

made t

he e

nd o

f his

tri

p d

isappoin

ting

?

A

T

hey f

inis

hed their tri

p in a

n a

rtific

ial la

ke.

B

T

hey r

etu

rned t

o a

nois

y m

odern

world.

19

C

T

he g

roup h

ad to s

plit

up.

D

T

he t

rip s

eem

ed u

nre

al, lik

e a

movie

.

20

Noel’s

lack o

f a s

cie

ntific b

ackgro

und m

eant

he h

ad faile

d t

o

A

calc

ula

te t

he s

peed o

f th

e r

iver.

B

unders

tand t

he r

ock form

ations.

20

C

pre

dic

t w

hen r

ocks w

ould

fall.

D

fo

rese

e t

he c

on

sis

ten

cy o

f th

e w

aves.

21

Lookin

g a

t th

e r

ocks fro

m the r

iver

bank, N

oel’s

gro

up f

ound little r

eassura

nce b

ecause

A

experi

ence h

ad t

aught th

em

to b

e w

ary

.

B

th

ey o

nly

had p

addle

-boats

.

21

C

som

e m

em

bers

of

the g

roup w

ere

weak.

D

ro

cks c

ould

fall

at

any tim

e.

22

Noel re

alis

ed t

hey h

ad b

een in s

erious d

ang

er

when

A

th

e g

uid

es d

id n

ot

want

to g

o o

n.

B

one o

f th

e b

oats

turn

ed o

ver.

22

C

th

ey h

ad t

o g

et

out

of th

e b

oat.

D

he s

aw

that

a g

uid

e w

as frig

hte

ned.

Page 86

6

Part

4

You

w

ill h

ear

tw

o

wri

ters

, D

avid

a

nd

Jane,

ta

lkin

g a

bout

adapting

n

ovels

f

or

tele

vis

ion.

For

questions 2

3-2

8,

decid

e w

heth

er

the o

pin

ions a

re e

xpre

ssed b

y o

nly

one o

f th

e s

peakers

, or

wheth

er

the s

peakers

ag

ree.

Write

Dfo

r D

avid

,

J

for

Jane,

or

B

for

Both

, w

here

they a

gre

e.

23

Bein

g p

art

of

a w

riting t

eam

has its

advanta

ges a

nd d

isadvanta

ges.

23

24

I w

as u

nused to m

y w

ork

bein

g c

riticis

ed.

24

25

Initia

lly it

was d

ifficult t

o let

oth

er

people

take c

harg

e o

f som

e a

spects

of

the w

ork

.25

26

Concepts

have to b

e p

ut

acro

ss in a

vis

ual w

ay.

26

27

27

Sele

cting

whic

h e

lem

ents

of th

e n

ovel to

inclu

de in a

n a

dapta

tion is larg

ely

intu

itiv

e.

28

The n

ovelis

t’s d

eeper

unders

tandin

g o

f a w

ork

can h

elp

the a

dapta

tion p

rocess.

28

Page 87

L I S T E N I N G S A M P L E PA P E R ( 2 )

CandidateCentre Number

Candidate

UNIVERSITY OF CAMBRIDGE LOCAL EXAMINATIONS SYNDICATE

Examinations in English as a Foreign Language

CERTIFICATE OF PROFICIENCY IN ENGLISH

PAPER 4 Listening

SAMPLE PAPER 2 Approx. 40 minutes

Additional materials:Answer sheetSoft clean eraserSoft pencil (type B or HB is recommended)

TIME Approx. 40 minutes

INSTRUCTIONS TO CANDIDATES

Do not open this booklet until you are told to do so.

Write your name, Centre number and candidate number in the spaces at the top of this page and onthe answer sheet unless this has already been done for you.

There are twenty-eight questions in this paper.

Answer all questions.

Write your answers in the spaces provided on the question paper. You will have five minutes at theend to copy your answers onto the separate answer sheet. Use a soft pencil.

At the end of the test, you should hand in both the question paper and the answer sheet.

INFORMATION FOR CANDIDATES


You will hear each piece twice. There will be a pause before each piece to allow you to look at thequestions and other pauses to let you think about your answers.

This question paper consists of 6 printed pages and 2 blank pages.

[Turn over

Page 88

2

Part

1

You w

ill h

ear

four

diffe

rent extr

acts

. F

or

questions 1

-8, choose t

he a

nsw

er

(A,

B o

r C

) w

hic

h f

its b

est

accord

ing

to w

hat

you h

ear.

T

here

are

tw

o q

uestions f

or

each e

xtr

act.

Extr

act

On

e

You h

ear

a w

om

an talk

ing a

bout

child

ren’s

appre

cia

tion o

f m

usic

.

1W

hy is it

difficult for

many m

usic

ians to u

nders

tand the n

eed f

or

modern

appro

aches t

o m

usic

?

A

T

hey c

annot

identify

with t

he m

ajo

rity

of

child

ren.

B

T

hey b

elie

ve t

heir

curr

ent ra

ng

e o

f m

usic

is c

om

pre

hensiv

e.

1

C

T

hey h

ave a

low

opin

ion o

f popula

r m

usic

.

2W

hat w

as t

he s

peaker

dete

rmin

ed to d

o?

A

urg

e o

rchestr

as t

o d

o m

ore

liv

e p

erf

orm

ances

B

pers

uade o

rchestr

as t

o a

ppeal to

child

ren

2

C

encoura

ge c

hild

ren to join

orc

hestr

as

Extr

act

Tw

o

You h

ear

part

of

an inte

rvie

w w

ith a

scie

ntist

about th

e b

rain

.

3A

ccord

ing t

o t

he inte

rvie

wer,

why a

re p

eople

fascin

ate

d b

y the b

rain

?

A

It is v

ital to

the f

unction o

f th

e b

ody.

B

It is a

larg

ely

unre

searc

hed o

rgan.

3

C

It r

epre

sents

one’s

essential bein

g.

4W

hat is

the s

cie

ntist

doin

g w

hen h

e s

peaks a

bout

stu

dyin

g t

he b

rain

?

A

public

isin

g h

is o

wn r

esearc

h to d

ate

B

la

menting the lack o

f unders

tandin

g in the fie

ld4

C

expla

inin

g t

he d

ifficulty o

f th

e r

esearc

h

3

[Tu

rn o

ver

Extr

act

Th

ree

You h

ear

a s

port

sm

an b

ein

g inte

rvie

wed a

bout

a b

ig e

vent

in h

is s

port

.

5W

hy d

oes t

he s

port

sm

an b

elie

ve t

his

event

is d

ifficult for

com

petito

rs?

AIt's

very

dem

andin

g p

hysic

ally

.

BM

ed

ia p

resence is intr

usiv

e.

5

CT

he t

raditio

ns c

an b

e intim

idating

.

6W

hat sport

are

they t

alk

ing

about?

Aath

letics

Bhors

e r

acin

g6

Cro

win

g

Extr

act

Fo

ur

You h

ear

two c

olle

ag

ues d

iscussin

g the c

om

pany w

here

they w

ork

.

7B

oth

Cla

re a

nd M

ac a

ppre

cia

te t

he f

act

that th

eir

colle

ag

ues

A

want

to c

hang

e t

he w

ay t

he c

om

pany w

ork

s.

B

have t

he s

am

e a

mount

of

experi

ence a

s t

hem

.7

C

q

uestion a

ny h

int

of tr

aditio

nal th

inkin

g.

8T

he s

uccess o

f th

e c

om

pany’s

philo

sophy c

an b

e s

een in

A

th

e incre

ase in b

usin

ess.

B

th

e d

iscip

line o

f th

e w

ork

ers

.8

C

th

e d

evelo

pm

ents

in w

ork

ing m

eth

ods.

Page 89

4

Part

2

You w

ill h

ear

an a

rtis

t show

ing

a v

isitor

aro

und h

is s

tudio

. F

or

questions 9

-17,

com

ple

te t

he

sente

nces w

ith a

word

or

short

phra

se.

The a

rtis

t says t

hat

his

stu

dio

can b

e c

om

pare

d to a

9

He e

xpla

ins t

he lack o

f space in h

is s

tudio

by d

escri

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________________________________________________________________________________

18

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hone w

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Page 90

6

Part

4

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, P

aul

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, dis

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the o

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Page 91

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0/3

49

L I S T E N I N G PA P E R A N S W E R K E Y ( 1 ) L I S T E N I N G PA P E R A N S W E R K E Y ( 2 )

One mark is given for each correct answer

Part 1 Part 3 Part 1 Part 3

1. A 18. C 1. A 18. C2. B 19. B 2. B 19. D3. B 20. D 3. C 20. B4. C 21. A 4. C 21. A5. B 22. D 5. A 22. C6. A 6. C7. B 7. C8. A 8. A

Part 2 Part 4 Part 2 Part 4

9. conservationists 23. B 9. landscape 23. P10. (a piece of / a bit of / some) seaweed / 24. D 10. (great) collector 24. P

sea-weed / sea weed 25. J 11. centre 25. B11. insect 26. B 12. in love with 26. S12. rocking horse / rocking-horse 27. J 13. portrait 27. B13. (small) shellfish(es) / shell-fish(es) / shell 28. J 14. (very) traditional 28. B

fish(es) 15. interiors14. exhibitions 16. (directly) north15. captivity 17. nobility16. legislation17. permits / licences / licenses

Note that correct spelling is required for questions 9 to 17.Parts of the answers which are in brackets are not essential to the key.

L I S T E N I N G A N S W E R S H E E T

Page 92

Track 1 The University of Cambridge Local Examinations Syndicate.Certificate of Proficiency in English ListeningTest. Sample Paper 1.

I’m going to give you the instructions for thistest. I’ll introduce each part of the test and giveyou time to look at the questions.

At the start of each piece you’ll hear thissound:

TONE

You’ll hear each piece twice.

Remember, while you’re listening, write youranswers on the question paper. You’ll have fiveminutes at the end of the test to copy youranswers onto the separate answer sheet.

There will now be a pause. Please ask anyquestions now, because you must not speakduring the test.

PAUSE 5 seconds

Part 1

Track 2 Now open your question paper and look atPart One.

PAUSE 5 seconds

You will hear four different extracts. Forquestions 1–8, choose the answer (A, B or C)which fits best according to what you hear.There are two questions for each extract.

Extract One

PAUSE 15 seconds

TONE

Man I grew up on the Isle of Wight; my parents hadan ice-cream firm there. And I still retain agreat affection for the island, even though as acultural centre it’s rather wanting. We had afew literary figures associated with the island,though, one of whom was the poet Tennyson.And there’s a festival – I think it’s still going onnow – where once a year children are requiredto stand up in public and recite chunks ofTennyson’s poetry. For my sins, my parentsencouraged me to go along to this competitionat, I suppose, about fifteen or sixteen, and with

a lot of hair draping over my face, I wouldsomehow swallow my pride and stand up andrecite poetry, near Tennyson’s house inFreshwater, hoping against hope that none ofmy schoolfriends was in the audience. If youpushed me against a wall now and said,‘Recite poetry!’, it would be Tennyson whichcame out, and, of course, I’ve come to love it.

PAUSE 5 seconds

TONE

REPEAT Extract One

PAUSE 2 seconds

Track 3 Extract Two

PAUSE 15 seconds

TONE

Woman Well, I remember when no car ad wascomplete without an attractive female drapedover the bonnet. It’s not like that anymore.

Man I just think the ads are a bit mundane now. Imean, just think of that one with a womanloading up at the supermarket.

Woman Well, the thing is people are more media-literate now. The successful advert has got tokeep just ahead of what people respond to, ofcultural changes.

Man Sure, but I do think that people see throughads … or else we’ve seen so many that theyjust wash over us.

Woman I don’t know; advertising still has an impact,providing it talks to consumers, tells themsomething …

Man … and doesn’t patronise them.Woman Well, at least these new car ads say, you know,

‘we recognise your needs, we understand yourlifestyle’, or whatever, through the imagesportrayed.

Man (doubtful) Possibly.

PAUSE 5 seconds

TONE

REPEAT Extract Two

PAUSE 2 seconds

Track 4 Extract Three

PAUSE 15 seconds

TONE

L I S T E N I N G PA P E R TA P E S C R I P T ( 1 )

Page 93

Man The ‘moog’ synthesizer, invented by RobertMoog, was the electronic keyboard instrumentthat became one of the defining sounds of the1960s and 70s. I was always taught,throughout my fifteen years of classicaltraining, that music is colours, and you’repainting pictures. What Bob did with themoog, which nobody else has managed to do,was he created the musical equivalent of anew colour.

When you had, in the early days, rock bandswith electric organs, you were limited becauseof the nature of the way they were amplified.So, you almost never did a solo, and if you didhave one, the band had to go so quiet that alot of the impact was lost anyway.

Now, what happened when the moog camealong, is that you had the equivalent inorchestral terms of the tambourine. It is saidthat a tambourine will cut through anything,you always hear it, and the same can be saidof the moog. Now, suddenly here was thechance for the keyboard player in the rockband to move from being in the background,padding something out, to take centre stageand show some virtuosity.

PAUSE 5 seconds

TONE

REPEAT Extract Three

PAUSE 2 seconds

Track 5 Extract Four

PAUSE 15 seconds

TONE

Reporter Today, we have a change of tack, directionand sport, to cover a local outfit in search ofsporting salvation. Our team of the day is thevolleyball side, Cambridge Ladies, whoseinjury-ravaged ranks journey to Hatfield onSaturday in a bid to lift themselves up theDivision Three league table as they take ontwo top-ranking sides, Oxford and Luton.

The team have struggled due to a longcatalogue of injuries that have kept key playersout of the side and they sit rather forlornlysecond from bottom of the table. Club coach,Dan Lansden, has been cracking the whip thisweekend and, in his own inimitable manner,has gingerly cajoled his side in preparation for

a vital couple of games. Captain LisaWainwright has to shrug off a nigglingshoulder problem to take her place in a line-up still minus Vicky Swan. The ladies havefour games left in which to salvage theirseason. Warm up for the games is at 12.30 andthe two fixtures follow rapidly with barely abreak for lunch.

PAUSE 5 seconds

TONE

REPEAT Extract Four

PAUSE 2 seconds

That’s the end of Part One.

Track 6 Now turn to Part Two.

PAUSE 5 seconds

Part 2

You will hear a radio report about a species ofsmall marine creature called the ‘sea dragon’.For questions 9–17, complete the sentenceswith a word or short phrase.

You now have forty-five seconds in which tolook at Part Two.

PAUSE 45 seconds

TONE

Presenter Few people have actually seen a sea dragon –those tiny, almost magical creatures that live inthe ocean. And recently two types of seadragon – the ‘leafy’ sea dragon and the‘weedy’ sea dragon – have been placed on thelist of threatened species. Christine Myersreports:

Christine Sea dragons are exquisite animals wrapped ina cloak of mystery. Much of what is knownabout their biology has come from theobservation of skilled divers, or aquarists.There has been relatively little scientificresearch on their ecology and behaviour in thewild, and this lack of information is now acause of anxiety among conservationists whoare growing increasingly worried about thelong-term future of these extraordinaryanimals.

Page 94

Divers who have searched the ocean’s watersfor these small animals will confirm that theyare very easy to miss. At first sight you maywell think a ‘leafy’ sea dragon is in fact a pieceof seaweed and swim right past it. At about 30centimetres long, it has stripes like a tiger, ahead like a sea horse and a random array ofappendages. In fact, the armour-plated bodyand fearsome spikes make it look more like aninsect – if you see it at all – than a creaturefrom the sea. But this is the ‘leafy’ sea dragon.Pause to reach for a camera, make a fewadjustments, and it’s gone, or at least that’show it seems. The ‘leafy’ sea dragon willdisappear before your eyes.

It moves by slowly undulating motions, ratherlike a rocking horse – effortless, as if controlledby invisible wires – but look closely and youwill see the small, transparent fins which allowthe sea dragon to move through the waterwithout the normal body motions associatedwith swimming. And, of course, it all helpscreate that convincing disguise. But penetratethat disguise and you will see why sea dragonsare classified in the same family as sea horses– there’s a distinct similarity. For example, likethe sea horse, they suck plankton and smallshellfish into their mouths from as far away as3 centimetres.

Both types – the ‘leafy’ and the ‘weedy’ seadragon – are indigenous to Australian waters,but ‘weedies’ are more widely distributed than‘leafies’. Attempts are now being made toassess population sizes and threats to theseunique creatures. Unlike sea horses, seadragons are not in demand for traditionalAsian medicine. But unfortunately they arecaptured for exhibitions, which is considered apotential threat to their welfare. The signs arethat a very large percentage of sea dragonscaptured for this purpose live no longer thansix months, simply because keeping them incaptivity is exceptionally difficult and requiresa great deal of expertise.

Up until now, only two of the five Australianstates which have sea dragons off their coastshave had legislation to protect them. Thisprohibits their capture without a permit.However, conservationists are still concernedabout the fate of these wild populations, asmore than 40 permits were issued over a two-year period for the collection of ‘leafy’ seadragons from Encounter Bay, South Australiaalone. But nobody knows just how many ofthem inhabit the bay, and divers have been

reporting fewer sightings than in previousyears, so it may be that the situation is evenworse than was feared.

Presenter That report by Christine Myers.

PAUSE 10 seconds

Now you’ll hear Part Two again.

TONE

REPEAT Part Two

PAUSE 5 seconds

That’s the end of Part Two.

Track 7 Now turn to Part Three.

PAUSE 5 seconds

Part 3

You will hear an interview with Noel Richler,who recently took a boat down the ColoradoRiver in the USA. For questions 18–22, choosethe answer (A, B, C or D) which fits bestaccording to what you hear.

You now have one minute in which to look atPart Three.

PAUSE 1 minute

TONE

Interviewer Someone who recently took a boat down theColorado River in the Grand Canyon is NoelRichler. Now, for those of you who don’t knowthis valley it’s very, very steep and theColorado River rushes and swirls throughcanyons and over rocks giving you the boat-trip of a lifetime. Noel, what are the moststriking features about the valley? Is it, in fact,the cliffs or is it the water at the base of thecliffs?

Noel I suppose the thing which astonished me mostwas just how cocooned I felt. I knowmountains fairly well, and I suppose I wasmistakenly predicting what I would feel frommy mountaineering days. I thought that itwould feel precipitous and dangerous, but Iremember looking upward frequently … andwe had to camp on the sides of the river andsometimes there was some sort of ledge whereyou could find tent space, sometimes youwere really pinched up against the more sheerrock through which the water cuts, but alwaysyou’d look up and you’d have a sky framed for

Page 95

you beautifully, and you just felt marvellouslyat home and at peace and it was wonderful.

Interviewer And has that feeling stayed with you?Noel No, strangely enough, I felt a kind of

extraordinary longing and sense of loss whenthe trip was finally over … The river in theGrand Canyon really runs from two plugs; atthe north end is the Glen Canyon Dam, which halts all the waters from the MonumentValley north, and that you’ll have seen inwestern movies and so on; and at the bottomend is Lake Mead, which is an artificial lakebehind the rather handsome Hoover Damabove Las Vegas, which is also a very wealthy community. So you get over the lastrapid and you’ve had ten days of great peaceand you find yourself … the first thing we saw,at least, was three guys on skidoos, thesehorrible jet-, sort of, lake-motorcycles,whizzing towards us. That was an awfulmoment.

Interviewer It was a shock for the system.Noel It was, absolutely.Interviewer Another interesting thing you were telling me

earlier is the fact that the water is moving at agreat speed and yet the waves remain thesame, they’re always at the same place and thesame height.

Noel Yes, that was, I think, the most immediatelysurprising thing for me, I mean, I suppose,were I more of a scientist, I would haveanticipated it, but, of course, the waves areformed by either bits of particularly hard rockwhere the river’s literally quite pinched, orwhere a rock may have tumbled. Most of thesecascades or rapids are a century old, but a lotof the rock falls are more recent. There wasone especially, which had fallen in about1969, and this was this sort of great crystalrapid. We actually got off the boat to take abetter look at it and climb up on the bank andit didn’t really look quite as menacing as it didfrom the river. But by that time we’d learnt,most of us, to be quite frightened of the powerof this place. We were in motor launches and Isuppose the manly thing to do, or womanlything – a lot of the guides were women – is toactually paddle down the Colorado River. Butthe river still has such force that it can, andalmost did, flip over one of the two boats wewere with. And I was only able to surmise thatwhen one of the guides, Johnny, came off theboat and, of course, swaggered, as was hispublic persona. He then moved about ahundred yards down the cliff ledge to thenquiver and shake in the company of the otherguides who knew exactly what was going onand what a near thing it had been.

Interviewer Noel Richler with the river runners, as they arecalled, of the Grand Canyon.

PAUSE 10 seconds

Now you’ll hear Part Three again.

TONE

REPEAT Part Three

PAUSE 5 seconds

That’s the end of Part Three.

Track 8 Now turn to Part Four.

PAUSE 5 seconds

Part 4

You will hear two writers, David and Jane,talking about adapting novels for television.For questions 23–28, decide whether theopinions are expressed by only one of thespeakers, or whether the speakers agree. WriteD for David, J for Jane, or B for both, wherethey agree.

You now have thirty seconds in which to lookat Part Four.

PAUSE 30 seconds

TONE

Interviewer Today we’re talking about the adaptation ofnovels for television. With me is the novelistand critic, David Leekey, and Jane Wright,whose adaptation of her novel ‘The SleepingHouse’ into a four-part TV drama was verywidely acclaimed. David – ten years ago itwould be hard to imagine talking about thisgenre of writing: adapting novels. Why do youthink more and more novelists are turning theirhands to it?

David I think it is simply a reflection of thedevelopment of television itself, which has anendless appetite for narrative, for drama. Sonovels fit the bill.

Jane Don’t you think, though, from the writer’spoint of view, part of the attraction is that it’scollaborative? You know, most writers write inisolation.

David It’s a double-edged relationship because therecan be frustrations involved in collaborationbut it’s certainly the most striking differencebetween being a novelist and writing fortelevision or film, that as a novelist, you aretotally in control and totally responsible for the

Page 96

product, while with a television adaptationyou’re involved with a lot of other creativepeople and you have to be in dialogue withthem all the time.

Jane And that means compromising in a way whichperhaps we are not used to having to do. Andalthough I’ve fought and squealed over it, Isuspect that it’s probably good for one as awriter to have to actually do that.

David Speaking as a novelist who has never beenparticularly harshly edited, I found it extremelychallenging to be hauled up over everyspeech. Initially you feel kind of insulted but,in fact, it makes for better writing I think.

Jane When I first started writing for television, Isuffered from the temptation to be a controlfreak and to say what we should be looking atall the time …

David But that’s the Director’s job.Jane Exactly. But only obvious things, like looking

at other people’s television scripts and seeinghow they did it, gave me some clue as to howto go about it.

David The first adaptation I tried, I remember – it wasludicrous! I just didn’t know what to do aboutgiving camera directions or anything like that.Obviously, there is a way of laying it outwhich you grasp quickly by looking at otherwriters’ TV scripts. I think it’s important toimagine the story unfolding in dramatic andvisual terms in your head as you write.

Jane But for me, this ‘translating’ of things which Iheld to be central ideas into pictures, and howto use them as a way into the piece, was quitedifficult. I had to find that new way of lookingat it.

David Indeed, and in my case these were notnecessarily images which had existed at all inthe book. It’s a funny process. I’d be interestedto know how you do this, Jane. The first thingthat I found I had to do was simply to write alist of the main plot events so that you end upwith a kind of shopping list. Do you dosomething that crude or have you got a moresophisticated way?

Jane I think my method’s even cruder really. I gothrough the text and I make little marks in themargin about what I think must be in. Butreally it’s all in my head rather than on paper,the structure of the piece. I’ve just got a feelingfor it. And sometimes it’s hard to accept thatmy novel’s going into another art form.

David Well, I must admit, I do feel fairly possessiveabout my own work and I feel I know it moreinwardly than anybody else does. I recognisethat this may make it difficult for me to seewhere cuts and changes need to be made.

Jane On the other hand, we’ve got unused reserves

of information about these characters and thestories, which nobody else has, which we candraw on.

David I guess it depends on the novel, doesn’t it.

PAUSE 10 seconds

Now you’ll hear Part Four again.

TONE

REPEAT Part Four

PAUSE 5 seconds

That’s the end of Part Four.

There’ll now be a pause of five minutes foryou to copy your answers onto the separateanswer sheet. Be sure to follow the numberingof all the questions.

Please note: the recording of the SamplePaper stops here. Recordings used in theexamination include five minutes forcandidates to transfer their answers, as shownbelow.

I’ll remind you when there is one minute left,so that you’re sure to finish in time.

PAUSE 4 minutes

You have one more minute left.

PAUSE 1 minute

That’s the end of the test. Please stop now.Your supervisor will now collect all thequestion papers and answer sheets.

Page 97

Track 9 The University of Cambridge LocalExaminations Syndicate.

Certificate of Proficiency in English ListeningTest, Sample Paper 2.

I’m going to give you the instructions for thistest.

I’ll introduce each part of the test and give youtime to look at the questions.

At the start of each piece you’ll hear thissound:

TONE

You’ll hear each piece twice.

Remember, while you’re listening, write youranswers on the question paper. You’ll have fiveminutes at the end of the test to copy youranswers onto the separate answer sheet.

There will now be a pause. Please ask anyquestions now, because you must not speakduring the test.

PAUSE 5 seconds

Part 1

Track 10 Now open your question paper and look atPart One.

PAUSE 5 seconds

You’ll hear four different extracts. Forquestions 1–8, choose the answer (A, B, or C)which fits best according to what you hear.There are two questions for each extract.

Extract One.

PAUSE 15 seconds

TONE

For me, as a child, there was never anyquestion of music being accessible. It wasaround us every day. My father, a familydoctor, fancied himself as a music programmepresenter, and he filled our home and hiswaiting rooms with the sound of classicalmusic from his extensive collection.

Most classical musicians come from a similarmusical background, which is why they find it

hard to understand what it’s like for childrenwho come from homes where music consistsof the occasional bit of pop music on TV. Thevery people who are technically able to devisenew approaches to music for modern childrencan’t see the necessity to do it, because theythemselves had no such need. But I felt I coulddo something about the most important sourceof inspiration: live music. So I went to themanagement of one of our leading orchestrasand tried to convince them to do somethingmore imaginative, more likely to engage theattention of children. After a few polite brush-offs, I realised that I was coming to beregarded as just another crazy person. But Iwon in the end; things did change.

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Track 11 Extract Two

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Interviewer By comparison with the heart, or any of theorgans without which life can’t go on, thebrain has yet to offer up more than a fractionof its secrets. The attempt to understand thebrain is really the attempt to understandeverything about ourselves. So it’s hardlysurprising that increasing numbers of scientistsare being drawn to study it and the rest of thecentral nervous system. Among them isStephen Colbourne. Now the scale of the task,Stephen, is phenomenal.

Scientist Well, you’ve got to look at at least a hundredbillion nerve cells and, of course, all the othercells which surround them, and what’s evenmore astonishing is the perhaps hundredthousand connections between those cells. Sothe number of possible permutations is vastlymore than there are particles in the universe.It’s a staggering thought, and it is theseinterconnections between the nerve cellswhich really give the brain its power andflexibility – and it’s far greater than anyconceivable computer we can think of today.

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L I S T E N I N G PA P E R TA P E S C R I P T ( 2 )

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REPEAT Extract Two

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Track 12 Extract Three

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Interviewer Tim, it has its critics, this event, doesn’t it?Tim Yes, it does and mainly because it’s hyped up

with a big media presence, lots of interviewsin the press, and then there’s all the historythat surrounds it. But when you enter it, yourealise how tough it is.

Interviewer Seriously?Tim For a World Championship or Olympic Games

we do 2000 metres which takes six minutes,whereas for this you have to do eighteenminutes.

Interviewer And afterwards, the arms or the legs, whichone aches most?

Tim Your legs probably go first. People say, ‘Howcome you’ve got big legs because you’resitting down all the time?’ Your legs will go,but it’s a whole body exercise.

Interviewer We often seem to know who’s going to winthis race in advance. Isn’t that a bit of aproblem?

Tim It can be. You get strong favourites, but thereare things that happen. If it’s rough weather it’smore level. The exciting thing about the race,and possibly why people watch it, is they’rewatching for something to happen, whetherthey’ll crash into each other or sink. It can bepretty embarrassing. (laughs)

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REPEAT Extract Three

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Track 13 Extract Four

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Clare The idea of change is appealing to me and Ilike being round people who embrace changeand look for innovation. That’s one of thereasons I earmarked Mytex as the company forme; my workmates are all young graduateswho haven’t become complacent.

Mac Hm, and they relish the challenge Mytexoffers. It’s like when they make a decision,they’re not drawing on experience, thedecision is based on fresh ideas. And in fact,when someone comes up with a conventionalsolution to something, it’s immediatelychallenged.

Clare Yeah, and that ethos is everywhere, thecanteen’s called the café and the food iswholesome and healthy, not like most factorycanteens in Britain where you get chips witheverything.

Mac It’s inspirational, and that enthusiasm isimplicit in the way people work here and thecompany makes it clear that that’s what’sexpected of them. It can produce results too,it’s boom time. Mind you, the pace of workingcan be a bit hectic sometimes!

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REPEAT Extract Four

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That’s the end of Part One.

Track 14 Now turn to Part Two.

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Part 2

You’ll hear an artist showing a visitor aroundhis studio. For questions 9–17, complete thesentences with a word or short phrase.

You now have forty-five seconds in which tolook at Part Two.

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Interviewer It’s very kind of you to invite me to yourstudio. I know for many artists it’s somethingvery personal and private, isn’t it?

Artist To an artist the studio is everything. Eventhough I’ve known it for years, I’ve painted init for years, this studio presents itself differentlyto me all the time. It’s like a landscape, it’snever the same because the seasons change.Every single day, what is outside the windowchanges. The studio changes because of allthis paraphernalia, these chairs and easels withfinished paintings on them. Most artists prefera lot of open space in the studio, but I’m agreat, let’s say, collector, as you can see by all

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these wonderful bottles and giant vasescluttering up the place. I like the way theshapes combine and produce intriguingpatterns.

Interviewer Do you paint from photos, sketches …?Artist I paint from the model, well six days a week, I

mean, I have a model for usually three hours aday. In the summer, that’s from seven till ten inthe morning because that really gets the daygoing and the light’s incredible and everything,but although the model is, in a way, the centreof the painting, or the centre of interest orwhatever you want to call it in fact, she is inherself not important. She’s a vehicle for light.I mean, there are two attitudes to models; oneis that an artist can’t paint a model unless hefalls in love with her and the other philosophyis that a model is no different from a sack ofpotatoes. And without any doubt, I have to likemy models; I have to get on with them. But Ihave no wish to make it more than that.Although now and then, I get a model and shecomes along and I know within one sitting thatI can’t paint her. You know, there’s … I justcan’t relate to her in a way.

Interviewer Hmm. Now this is quite an old studio, isn’t it?It’s steeped in character.

Artist In the nineteenth century, this studio used tobelong to a painter called Hindmarsh. I thinkhe was undoubtedly the greatest portraitpainter of his age and anybody that wasanybody who wanted to be painted wouldcome to him. And I mean, I’m not one of thesepeople who believes in ghosts and all thatrubbish, but sometimes in the evening I think,‘Hello’.

Interviewer You mean, you’re influenced by the history?Artist Yes and no. But ultimately, I mean a studio is a

working space. I work in a very traditional wayand a working space must fulfil the needs ofthe painter. Of course, it does depend on thetype of painting you’re talking about. But,what I’m basically interested in is humanfigures and the interiors. I suppose it starts offwith the figure actually, and because I’minterested in working in natural light – theideal thing about this studio is for me, is theposition of this enormous window here.

Interviewer Why is it so important?Artist It looks directly north which means that the

light never actually enters the studio, so theimage is, generally speaking, constant. I mean,naturally, the light outside reflects into thestudio and therefore it changes somewhat, butthat is nothing like light moving across thesurface and changing shadows and changingthe interpretation of the form. In the classicstudio, the position of the window doesn’t

allow that. And of course, these studiosoriginally were built at a time when a lot ofartists earned their living by painting thenobility. Hindmarsh was highly successful inhis day and he himself chose the site andcommissioned a well-known architect todesign the building. So I was thrilled to comeacross this place up for rent, I can tell you.

Interviewer Yes, I’m sure. Could I look at …(Fade)

PAUSE 10 seconds

Now you’ll hear Part Two again.

TONE

REPEAT Part Two

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That’s the end of Part Two.

Track 15 Now turn to Part Three.

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Part 3

You’ll hear part of a radio programme aboutHarry Base, a man who was famous for a shorttime. For questions 18–22, choose the answer(A, B, C or D) which fits best according towhat you hear.

You now have one minute in which to look atPart Three.

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Announcer In this week’s edition of Famous for FifteenMinutes, Jenny Mills talks to ‘radio star for aday’ Harry Base and his wife, Barbara.

Presenter Harry Base was an unlikely radio celebrity.Fifty-four years old, a factory worker living inBristol, all that was on his mind, oneNovember afternoon ten years ago, was whaton earth was wrong with his telephone. Everytime he picked up the receiver all he got was ablast of faint, crackly music.

Harry My wife was trying to phone through to ourson and she couldn’t get through so she said tome, you know, get on the phone and try anddo something about it. Anyway, I got on thephone and there were records coming through,so I phoned the operator and she gave me arepair number. I phoned the repair numberand then all of a sudden my wife says to me‘You’re coming out on the radio’ ...

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Barbara I was in the kitchen at the time. I said, ‘Here,’I said, ‘Hang on a minute, the radio soundsfunny, you’re coming through on the radio.’He said, ‘I’m not.’ I said, ‘You are.’

Harry So what I did then, I sang ‘When the blue ofthe night meets the gold of the day’ and thatcame shooting over the radio.

Presenter Harry Base’s telephone had accidentally gotconnected to Radio Bristol’s transmitter justdown the road. The landline from the radiostudios passed through the same greentelephone junction box as Harry’s phone lineand someone had driven their car into it,cracking it open to expose the wiring.Somehow the connections had got muddledup and every time Harry picked up hisreceiver he broke into that afternoon’sSaturday Sports Special. Now he might havebeen content with his solo performance of‘When the blue of the night meets the gold ofthe day’ but people kept ringing him up. Andevery time he picked up his phone, Harry justcouldn’t help answering with his number.

Harry Well, this young girl phoned up and I said,‘Sing Rose Marie’. ‘I can’t do it,’ she said, shesaid ‘I’ll get my mum.’ So her mother cameover, I don’t know who the lady was from,well, from that day to this, so we sang RoseMarie, and that went down pretty well.

Presenter What were Radio Bristol doing meanwhile,when they realised you were on theirairwaves?

Harry Well, Derek Woodcock said – he was themanager then mind – oh, very important – hesaid, ‘I was eating a cheese sandwich and allof a sudden you came shooting out with RoseMarie and he said, ‘I nearly had a fit’. He said,‘Here’s my radio station, I was in charge of itand here’s an amateur bungling his waythrough’.

Presenter The next day Harry was on Radio Bristol againbut this time by invitation. Derek Woodcockinvited him up to the studios.

Harry When I got there Derek Woodcock was thereand I tell you, I could see the look in his eyesso I got on my knees and I said, ‘What have Idone? I’m ever so sorry’ – I wasn’t really, mind,but ... (laughs)

Presenter By this time, news of Harry’s extraordinarybroadcast had spread beyond Bristol. Harryfound himself on national radio. There werecalls from as far away as the US and a radiostation in Australia wanted him to sing live fortheir listeners. Meanwhile the national presshad descended on him.

Harry Do you know, there were people slidingthrough the door with cameras, ‘Can I haveyour picture, can I have your story?’, like

secret agents they were, the way they’d creepthrough the door. Anyway, they came in andthey took photographs and I was in all thenewspapers.

Presenter Yes, I’m just looking at these headlines here:…(fade)

PAUSE 10 seconds

Now you’ll hear Part Three again.

TONE

REPEAT Part Three

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That’s the end of Part Three.

Track 16 Now turn to Part Four.

Part 4

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You’ll hear two people, Paul and Sally,discussing a new theatre which has openedrecently. For questions 23–28, decide whetherthe opinions are expressed by only one of thespeakers, or whether the speakers agree. WriteP for Paul, S for Sally, or B for both, wherethey agree.

You now have thirty seconds in which to lookat Part Four.

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Paul Well, this new round theatre, everything builtin the round, with its round stage, has theaudience standing right up to the edge of thestage. It’s an exhilarating, yes, but demandingand difficult theatre. Surely directors have tocompletely rethink what they’re doing withtheatre for a play to work in it. And I don’tthink they’ve managed that yet. Have they,Sally?

Sally Well, Paul, the opening play we went to lastmonth worked for me. It seemed to be set in akind of timeless state, especially the burntsienna designs, the ground covered with whatlooked like the red surface you play tennis on.I thought the design of the set had an effect onthe actors’ performance.

Paul It was an exciting design, but it seemed to meto be a design that didn’t begin to understandthe emptiness of the space that’s been created.And I found again and again that the actors

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were working right at the edge of the stagewith a curious reluctance to get anywhere nearthe middle, really to use the full breadth andpower of that space.

Sally Actually, what I wonder is how easy it is toapply conventional acting theory to this newtheatre. It’s proving very clear that actors willhave to adapt their techniques. These are earlydays and they’re having trouble doing it. But Ithink the exhilaration of the space itself andtheir attempts, in the way they’re reacting withthe audience, is something which we shouldgive them credit for.

Paul The enormous space puts huge demands onthe actors’ ability to throw their voices andsome don’t seem to have grasped this. I don’tmean volume, I mean the actual projection ofthe voice. One of the striking things about thenew play, the one that we saw last night, is theaudience, I mean, although they’re clearlyattentive, they’re not being vocal in theirresponse. And it somehow doesn’t seem to fit.It’s not a conventional theatre where youdon’t, as a rule, get feedback from theaudience, this is a space which seems todemand that the audience should be engaged.

Sally That depends on the play. The audience doesreact to some plays, like the opening one,remember? I think, when people can relate tothe content of the play in real life, then theyjoin in shouting, banging, clapping, they’rewanting to commune.

Paul Mind you, it might depend on the actors. I’veseen some actors who are magnetic, they havea charisma, an oddity which forces you torethink what they’re doing and that would betrue no matter where they were playing.

Sally Do you think one actor can make such adifference? To my mind, it’s the way thearchitect has understood that the very shape ofa building can encourage, promote, a certainatmosphere, in this case for the audience. It’ssomething to do with that round shape.

Paul It’s the sort of cosy atmosphere it generates; itmakes you feel as if you’re part of it, and soyou are. The theatre goers seem to lose theirinhibitions. Usually, these days, we thinkwe’ve got to be very well-behaved when wego to the theatre and that means being quiet.

Sally Of course, with this theatre there’s the dangerof it becoming not so much a venue for goodlive theatre as just something which hasnovelty value.

Paul The risk is the latter. I do hope though thatwe’re at the beginning of a gloriousexperiment. This is the most exciting newtheatre for years. It’s now up to the actors to

give us performances of the quality of the bestthat we’ve seen so far and take us on to reallyexciting productions in the future.

Sally So what do you think about the possibility of…(fade)

PAUSE 10 seconds

Now you’ll hear Part Four again.

TONE

REPEAT Part Four

PAUSE 5 seconds

That’s the end of Part Four.

There’ll now be a pause of five minutes foryou to copy your answers onto the separateanswer sheet. Be sure to follow the numberingof all the questions.

Please note: the recording of the SamplePaper stops here. Recordings used in theexamination include five minutes forcandidates to transfer their answers, as shownbelow.

I’ll remind you when there is one minute left,so that you’re sure to finish in time.

PAUSE 4 minutes

You have one more minute left.

PAUSE 1 minute

That’s the end of the test. Please stop now.Your supervisor will now collect all thequestion papers and answer sheets.

PAPER 4 LISTENING Recording Information General Description Paper ... · PDF fileGeneral Description Paper Format The paper contains four parts. Timing Approximately 40 minutes. Number

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