Cae 1cae 1cae 1cae 1cae 1cae 1

Book with
Cambridge Certificate
in Advanced English
1
WITH .L\NSWERS
Official examination papers
from University of Cambridge
ESOL Examinations
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Contents
Thanks and acknowledgements 4
Introduction 5
Teat 1 Paper 1 Reading 7
Paper 2 Writing 16
Paper 3 Use of English 18
Paper 4 Listening 26
PaperS Speaking 31
Test 2 Paper 1 Reading 33
Paper 2 Writing 42
PaperS Speaking 57
Teat 3 Paper 1 Reading 59
Paper 2 Writing 68
PaperS Speaking 83
Test 4 Paper 1 Reading 85
Paper 2 Writing 94
PaperS Speaking 109
Visual materials for Paper 5 COIOUT section
Test 1 Paper Sframes 110
Marks and results 122
Teat 1 Key and transcript 133
Test 2 Key and transcript 144
Sample answer sheets 177
3
Thanks and acknowledgements
The authors and publishers acknowledge the following sources of copyright material and arc grateful for the
permissions granted. While every effort has been made, it has not always been possible to identify the sources
of all the material used, or to trace aU copyright holders. Ifany omissions arc brought to our notice, we will be
happy to include the appropriate acknowledgements on reprinting.
Faber & Faber Limited, Greene & eaton and enry olt & !o for the adapted te"t on p. #$ %The Giordano
&ainting% from Headlong by 'ichael Frayn. !opyright (Q ())) 'ichael Frayn. *eproduced by permission of
Faber & Faber Limited, Greene & eaton and enry olt & !o+ The Independent for the adapted article on
p. (,$ %When the hippos roar, start paddling-% by *ichard .ackson, The Independent (, February ())/.
!opyright (Q 0ndependent 1ews &'edia Limited+ Telegraph 'edia Group for the adapted article on p. (2$
%The opera3lover turned crime novelist% by 'ichael White, The Sunday Telegraph Review, 24 'arch 2,,4+ for
the adapted article on p, 4#$ %Fake art meets real money% by William Langley, The Sunday Telegraph Review,
2) .une 2,,4+ for the adapted article on p. /5$ %Lights, camera action man% by *ichard 'adden, The Daily
Telegraph, (# 6ugust ())#. U sed by permission of Telegraph 'edia Group Limited+ .onathan ancock for
%&icture this ... with your mind%s eye% on p. (7$ from Professional Manager, .uly ())#. U sed by permission of
.onathan ancock+ Taylor & Francis 8ooks Ltd for the adapted e"tract on p. 44$ %ow useful is the term
9non3verbal e"pression:%9 from Communicating the Multiple Modes of Human Interconnection by *uth
Finnegan. !opyright ;2,,2+ and the e"tract %6 system to notate dance% on p. /($ from Laanotation by 6nn
utchinson Guest. !opyright ! 2,,7+ and the adapted article on p. )4$ %<ver3consumption% by &aul Wachtel
from Political !cology" U sed by permission of Taylor &Francis 8ooks Ltd+ 10 =yndication for the adapted
te"t on p. 4/$ %!hocolate !ake Wars% by !handos >lletson, The Sunday Times, 22 6pril 2,,,+ and the
adapted te"t on p. ),$ %Travelling sensitively% by 'ark odson, The Sunday Times Travel Maga#ine, $%
February ())?. !opyright @ 10 =yndication. U sed by permission of 10 =yndication+ Aeith Wheadey for the
te"t on p. 5($ %<ffshore Bestments% from The &inancial Times, How to Spend it, 'ay ())#. U sed by kind
permission of Aeith Wheadey+ !athy 'arston for the adapted e"tract on p. 7)$ %6 choreographer%s diary% from
www.ballet.co.uk. U sed by kind permission of !athy 'arston+ *upert Wright for the e"tract on p. /?$ %'aCes%
from The &inancial Times, How to Spend it, <ctober 2,,(. U sed by kind permission of *upert Wright+
&enguin 8ooks Ltd for the adapted te"t on p. #?$ %0nterviewing Londoners% from My !ast !nd, 6 History of
Coc'ney London by Gilda <%1eill DBiking 8ooks, ())),2,,,E !opyright Gilda <%1eill ())), 2,,,.
*eproduced by permission of &enguin 8ooks Ltd+ =imon de 8urton for the te"t on p. ##$ %6fter the Frisbee%
from (ee'end &inancial Times Maga#ine, Issue 77. U sed by kind permission of =imon de 8urton+ !lassic F'
'agaCine for the adapted te"t on p. ))$ %ow music was written down% by .eremy 1icholas from Classic &M
Maga#ine, 6ugust 2,,5. U sed with kind permission of !lassic F' 'agaCine.
Colour section
6lamyF6le" =egre p. !# DbE+ 6lamyl8lickwinkel p. !? DbE+ 6lamyF!hris =tock p. !(2 DblE+ 6lamylGavid *
FraCier &hotography p. !2 DrE+ 6lamylFl <nline p. !) DbE+ 6iamyllmage =tate p. !(2 DdE+ 6lamyF.ordi !ami
p. !(2 DtcE+ 6lamyF'anfred Grebler p. !(2 (te); 6amyl'ark Gibson p. !5 DtrH+ 6lamyl&eter =teiner p. !) DdE+
6lamyF=teve =k.old p. !(2 DbrE+ !orbisl6ndanson .amesF=ygma p. !5 DbE+ !orbisl8arry Lewis p. !# DtrE+
!orbisl0mage (,, p. !( DtrE+ !orbislAevin Fleming p. !2 DblE+ !orbisl'acduff >verton p. !l< DbE+ !orbisl&aul
Thompson p. !(2 DclE, !orbisF*oy *ainford0*obert arding World 0magery p. !) DclE, !orbislTetra 0mages
p. !? DtE+ Ganiel Goodchildl&hotographers Girect p. !(, DdE+ Getty 0magesl6F& p. !7 DblE+ Getty 0magesl6F&
p. !) DcE+ Getty 0magesl8ongarts p. !l DbE+ Getty 0mageslLonely &lanet p. !l DdE+ Getty 0magesF1ews p. !)
DtrE, )etty 0magesl&hotographers !hoice p. !) DcrE+ Getty 0magesl&hotonica p. !? DcE+ Getty 0magesl=cience
Faction p. !) DbrE+ )etty 0magesl=tone p. !# DdE+ Getty 0mageslTa"i p. !5 DdE+ Getty 0mageslTa"i p. !7 DbrE+
&6 &hotos p. !ll DbE+ &unchstock08lend 0mages p. !0< DtrE+ &unchstockl!reatas p. !00 DtrE+
&unchstocklGoodshoot p. !7 DtE+ *oger Gaviesl&hotographers Girect p. !ll DdE+ =till &icturesl0wao
Iamamoto3U 1>& p. !2 DdE+ U nited =tates Geological =ociety p. !t< DinsetE.
*lac' and white section
6lamyF6' !orporation p. /4+ 6lamylFoodfolio p, 4/+ 6lamyF=kyscan &hoto library p. /?+ =cience &hoto
LibraryF!hris 8uder p. ?,
4
Introduction
This collection of four complete practice tests comprises papers from the University of
Cambridge ESOL Examinations Certificate in Advanced English (CAE) examination students
can practise these tests on their o!n or !ith the help of a teacher"
The CAEexamination is part of a suite of general English examinations produced by
Cambridge ESOL" This suite consists of fiveexaminations that have similar characteristics but
are designed for different levelsof English language ability" #ithin the fivelevels$CAEis at Level
C% inthe Council of Europe&s Common European Framework of Reference for Languages:
Learning, teaching, assessment. Ithas also been accredited by the 'ualifications and Curriculum
Authority inthe U(as a Level) ESOLcertificate in the *ational 'ualifications +rame!or," The
CAE examination is !idely recognised incommerce and industry and in individual university
faculties and other educational institutions"
- . - . ... - - - - ..- - -
Examination Council of Europe U( *ational
+rame!or, Level 'ualifications
+rame!or, Level
- - - - -
CrE
Ccrriticar/ (If l&rohcicncy
I
C2 .~
in English
CAE
Certificate in Cl )
Advanced English
+CE
H2 I
lirst Certificate in English
0ET
HI l"ntrv 1
0reliminary English Test
(ET
:\2 Fnrrv 2
(ey English Test
Further Information
The information contained in this practice boo, is designed to be an overvie! of the exam" +or
a full description of all of the above exams including information about tas, types$ testing
focus and preparation$ please see the relevant handboo,s !hich can be obtained from
Cambridge ESOL at the address belo! or from the !ebsite at2 !!!"CambridgeESOL"org
University of Cambridge ESOL Examinations Telephone2 +44 %))1 331445
% 6ills 7oad +ax2 899 %))1 331:)%
Cambridge C;% )EU e- mail2 ESOL6elpdes,<Ucles"org"u,
United (ingdom
3
Introduction
The structure of CAE: an overview
The CAE examination consists of five papers.
Paper 1 Reading 1 hour 15 minutes
This paper consists of four parts, each containing one text or several shorter pieces. There are
34 uestions in total, including multiple choice, gapped text and multiple matching.
Paper ! "riting 1 hour 3# minutes
This paper consists of t$o parts $hich carr% eual mar&s. 'n Part 1, $hich is compulsor%,
input material of up to 15# $ords is provided on $hich candidates have to (ase their ans$ers.
Candidates have to $rite either an article, a letter, a proposal, or a report of (et$een 1)# and
!!# $ords.
'n Part !, there are four tas&s from $hich candidates choose one to $rite a(out. The range of
tas&s from $hich uestions ma% (e dra$n includes an article, a competition entr%, a contri(ution
to a longer piece, an essa%, an information sheet, a letter, a proposal, a report and a revie$. The
last uestion is (ased on the set (oo&s. These (oo&s remain on the list for t$o %ears. *oo& on
the $e(site, or contact the Cam(ridge E+,**ocal +ecretar% in %our area for the up-to-date list
of set (oo&s. The uestion on the set (oo&s has t$o options from $hich candidates choose one
to $rite a(out. 'n this part, candidates have to $rite (et$een !!# and !.# $ords.
Paper 3 /se of English 1 hour
This paper consists of five parts and tests control of English grammar and voca(ular%. There
are 5# uestions in total. The tas&s include gap-filling exercises, $ord formation, lexical
appropriac% and sentence transformation.
Paper 4 *istening 4# minutes 0approximatel%1
This paper consists of four parts. Each part contains a recorded text or texts and some
uestions including multiple choice, sentence completion and multiple matching. There is a
total of 3# uestions. Each text is heard t$ice.
Paper 5 +pea&ing 15 minutes
This paper consists of four parts. The standard test format is t$o candidates and t$o
examiners. ,ne examiner ta&es part in the conversation $hile the other examiner listens. 2oth
examiners give mar&s. Candidates $ill (e given photographs and other visual and $ritten
material to loo& at and tal& a(out. +ometimes candidates $ill tal& $ith the other candidates,
sometimes $ith the examiner and sometimes $ith (oth.
Grading
The overall CAE grade is (ased on the total score gained in all five papers. Each paper is
$eighted to 4# mar&s. Therefore, the five CAE papers total !## mar&s, after $eighting. Itis
not necessar% to achieve a satisfactor% level in all five papers in order to pass the examination.
Certificates are given to candidates $ho pass the examination $ith grade A, 2or C. A is the
highest. 3 and E are failing grades. All candidates are sent a +tatement of Results $hich
includes a graphical profile of their performance in each paper and sho$s their relative
performance in each one.
4or further information on grading and results, go to the $e(site 0seepage 51.
.
Test 1
PAPER 1 READING (1 hour 15 minutes)
Part 1
You are going to read three extracts which are all concerned in some way with providing a service.
For questions 1-6, choose the answer (A, B, eor ! which you thin" #its $est according to the text.
%ar" your answers on the separate answer sheet.
Fish who work for a living
Cleaner wrasses are small marine fish that fced on the parasites living on the bodies oflarger fish. Each
cleaner owns a 'station' on a reef where clientele come to get their mouths and teeth cleaned. Client
fish come in two varieties: residents and roamers. Residents belong to species with small territories;
they have no choice but to go to their local cleaner. Roamers, on the other hand, either hold large
territories or travel widely, which means that they have several cleaning stations to choose from. The
cleaner wrasses sometimes' cheat'. This occurs when the fish takes a bite out of its client, feeding on
healthy mucus. This makes the client olt and swim away.
Roamers are more likely to change stations if a cleaner has ignored them for too long or cheated
them. Cleaners seem to know this: i#a roamer and a resident arrive at the same time, the cleaner almost
always services the roamer first. Residents can be kept waiting. The only category of fish that cleaners
never cheat are predators, who possess a radical counterstrategy, which is to swallow the cleaner. !ith
predators, cleaner fish wisely adopt an unconditionally cooperative strategy.
1 &hich o# the #ollowing statements a$out the cleaner wrasses is true'
A (hey regard )roamer) #ish as important clients.
B (hey ta"e great care not to hurt any o# their clients.
e (hey are too #rightened to #eed #rom the mouths o# certain clients.
o (hey are in a strong position as they can move to #ind clients elsewhere.
* (he writer uses $usiness terms in the text to
A illustrate how #ish negotiate rewards.
B show how $igger #ish can dominate smaller ones.
e exempli#y cooperation in the animal world.
o descri$e the way #ish ta"e over a rival)s territory.
"
Test 1
Extract from a novel
The Giordano painting
' I w as up in town yesterday,' 1 tell Tony easily,turning back from my long
study of the sky outside the window as ifI'd simply been wondering
whether the matter was worth mentioning, 'and someone 1 was talking to
thinks he knows someone who might possibly be interested.'
Tony frowns. 'Not a dealer?' he queries suspiciously.
'No, no - a collector. aid to be keen on se!enteenth-century art.
"specially the paintings of #iordano. Very keen.'
'$oney all right?' Tony asks.
'$oney, as 1understand it, is far from being a problem.'
o, it's all happening. The words are coming. %nd it's not at all a bad start,
it seems to me. I'm impressed with myself. I'!e gi!en him a good spoonful
line 1& of 'am to sweeten the tiny pill that's arri!ing ne(t.
'omething of a mystery man, though, 1 gather,' 1 say solemnly. ')eeps a
low profile. *on't show his face in public.'
Tony looks at me thoughtfully. %nd sees right through me. %ll my
boldness !anishes at once. I'!e been caught cheating my neighbours+ 1 feel
the panic rise.
',ou mean he wouldn't want to come down here to look at it?'
'I don't know,' 1 flounder hopelessly. '-erhaps ... possibly .. .'
'Take it up to town,' he saysdecisi!ely. '#et your chum to show it to him.'
I'm too occupied in breathing again to be able to reply. .e misconstrues
my silence.
'/it of a bore for you,' he says.
3 When he brings up the subject of the Giordano painting, the narrator wants to give Tony the
impression of being
A cautious.
B resigned.
C mysterious.
o casual.
What is the narrator referring to when he uses the e!pression "tiny pill" in line #$%
A his shortage of precise details about the collector
B his lac& of certainty about the value of the painting
C his concerns about the collector"s interest in the painting
o his doubts about the collector"s ability to pay for the painting
0
Paper 1 Reading
The invention of banking
The invention of banking preceded that of coinage. Banking originated
something like 4,000 years ago in Ancient Mesopotamia, in present-day Iraq,
here the royal palaces and temples provided sec!re places for the safe"
keeping of grain and other commodities. #eceipts came to be !sed for transfers
not only to the original depositors b!t also to third parties. $vent!ally private
ho!ses in Mesopotamia also got involved in these banking operations, and las
reg!lating them ere incl!ded in the code of %amm!rabi, the legal code
developed not long afterards.
In Ancient $gypt too, the centralisation of harvests in state areho!ses led to
the development of a system of banking. &ritten orders for the ithdraal of
separate lots of grain by oners hose crops had been deposited there for
safety and convenience, or hich had been comp!lsorily deposited to the credit
of the king, soon became !sed as a more general method of payment of debts
to other people, incl!ding ta' gatherers, priests and traders. $ven after the
introd!ction of coinage, these $gyptian grain banks served to red!ce the need
for precio!s metals, hich tended to be reserved for foreign p!rchases,
partic!larly in connection ith military activities.
( In both Mesopotamia and $gypt the banking systems
A ere initially limited to transactions involving depositors.
B ere created to provide income for the king.
) req!ired a large staff to administer them.
* gre o!t of the provision of storage facilities for food.
+ &hat does the riter s!ggest abo!t banking,
A It can take place itho!t the e'istence of coins.
B It is likely to begin hen people are in debt.
) It normally req!ires precio!s metals.
* It as started to provide the state ith an income.
-
Test 1
Part 2
You are going to read a magazine article about hippos. Six paragraphs have been removed from
the article. Choose fromthe paragraphs A-G the one which fits each gap (7-12. !here is one extra
paragraph which "ou do not need to use. #ar$ "our answers on the separate answer sheet.
When the hippos roar, start paddling!
Richard Jackson and his wife spent their honeymoon going
down the Zambezi river in a canoe.
'They say this is a good test of a relationship,' said
Tim as he handed me the paddle. I wasn't sure that
such a tough challenge was what was needed on a
honeymoon, but It was too late to go back. Mywife,
Leigh, and I were standing with our guide, Tim
Came, on the banks of the ambe!i near the
ambia"#otswana border. This was to be the
highlight of our honeymoon$ a safari downri%er,
ending at the point where &a%id '%lngstone first
saw the (ictoria )alls.
% * $
+either of us had any canoeing e,perience.
Tentati%ely we set off downstream, paddling with
more enthusiasm than e,pertise. -oon we heard the
first distant rumblings of what seemed likethunder.
'Is that (ictoria )alls.' we In/uired nai%ely. '+o,' said
Tim dlsmissi%ely. 'That's our first rapid.' 0asy, we
thought. 1rong2
% ---
3
The canoe plotted a cra!ed path as we careered
from side to side, our best efforts seeming only to
add to our plight. This was the first of many rapids,
all relati%ely minor, all en4oyably challenging for
tourists like us.
% 9
The o%ernight stops would mean mooring at a
deserted Island inthe middleofthe ri%er, where Tim's
willingsupport teamwouldbe waiting,ha%ingerected
a camp and got the water warm for our bucket
showers. &s the ice slowly melted in the drinks,
restaurant5/uallty food would appear from a cooker
usinghot coals. Then people wouldbeginto rela,,and
the day's stories would take on epic proportions.
67
r 10
%
8ne morning, Tim decided to count the number of
hippos we saw, In an attempt to gauge the
population in this part of the ri%er. Most of the
wildlife keeps a cautious distance, and we were
assured that, safe in our canoe, any potential
threats would be more scared of us than we were
of them 5 but we had been warned to gi%e these
ri%er giants a wide berth. They'd normally stay in
mid5stream, watching us with some suspicion,
and greeting our departure with a cacophony of
grunts.
Timyelled 'Paddle2' and o%er the ne,t 677metres an
8lympic runner would ha%e struggled to keep up
with us. The hippo ga%e up the chase, and although
Tim said he was 9ust a youngster showing off, our
opinion was that he had honeymooners on the
menu. That would certainly be the way we told the
story by the time we got home.
112 %
% 2
:t some times of the year, you can e%en en4oy a
natural jacuzzi In one of the rock pools beside the
falls. The tra%el brochures say it's the world's most
e,clusi%e picnic spot. It's certainly the Ideal place to
wind down after a near miss with a hippo.
A Luckily we could make our mistakes in
privacy as, apart from Tim and another
couple, for two days we were alone. Our
only other company was the array of bird
and animal life. The paddling was fairly
gentle, and when we got tired, Tim would
lead us to the shore and open a cool-box
containing a picnic lunch.
B If that was the scariest moment, the most
romantic was undoubtedly our final
nights campsite. Livingstone !sland is
perched literally on top of "ictoria #alls.
The safari company we were with have
exclusive access to it$ its %ust you, a
sheer drop of a fewhundred metres and
the continual roar as millions of litres of
water pour over the edge.
& There was plenty of passing traffic to
observe on land as well- giraffes, hippos,
elephants and warthogs, while eagles
soared overhead. 'eeven spotted two
rare white rhinos. 'e paddled closer to
get a better look.
( 'ehad a four-metre aluminiumcanoe to
ourselves. !twas a small craft for such a
mightyriver, but )uite big enough to
house the odd domestic dispute. &ouples
had, it seemed, ended similar trips arguing
rather than paddling. But itwasnt %ust
newly-wedsat risk. Timassured us that a
group of comedians from*orth America
had failedto see the funnyside too.
Paper + Reading
, But number +-.had other ideas. As we
hugged the bank he dropped under the
water. 'e expected him to re-surface in
the same spot, as the others had done.
!nstead, there was a sudden roar and he
emerged lunging towards the canoe.
# Over the next hour or so the noise grew
to terrifying dimensions. Bythe time we
edged around the bend to confront it, we
were convinced we would be faced with
mountains of white water. !nstead,
despite all the sound and fury, the
/ambe0i seemed only slightly ruffled by a
line of small rocks.
1 'hen wed all heard enough, we slept
under canvas, right next to the river
bank. #ortunately, we picked a time of
year largely free of mos)uitoes, so our
nets and various lotions remained
unused. The sounds of unseen animals
were our nightly lullaby.
11
Test 1
Part 3
Ycu are gcing tc read a newspaper artic|e abcut a ncve|ist. Fcr questicns 13-19, chccse the answer
(A, a, C cr D) which ycu think fits best acccrding tc the text. Vark ycur answers cn theseparate
answer sheet.
The opera-lover turned crime novelist
Through her series o f crime novels, Donna Leon h a s been solving murders in Venice with great
panache - mostly to the soundtrack o f grand opera.
DcnnaLecn first |aunchedherse|f as a crime writer
in 1991with Dea th at La Fenice, which sawa ccnductcr
pciscned in mid-perfcrmance at the Venice cpera
hcuse.'It was an ideathat kind cf grew: shesays.'I had
a friend at the cpera hcuse. One day we were
backstage,ccmp|aining abcut the tyrannica| ccnductcr
- and we thcught it wcu|d be a |augh tc make him the
victim in a crime ncve|,which I du|y went cff andwrcte.
But that's a|| it was meant tc be. I was |ucky tc be bcm
withcut ambiticn, and I had ncne fcr this bcck. Then I
sent it cff tc a ccmpetiticn, and six mcnths |ater they
wrcte back tc say I'd wcn. I gct a ccntract, and
sudden|y I had a purpcse in |ife, a missicn.'
Tc hear her ta|k, ycu'd think that unti| Dea th at La
Fenice she'd been|iving in cbscurity. Nct sc. Shewas
a we||-kncwn academicteaching Eng|ish |iterature at
universities in the USAand Eurcpe. But shefcund that
she wasn't rea||y cut cut fcr university |ife, and fina||y
decidedtc wa|k cut cn it. 'I'm a fcrmer academic: she
says ncw thrcugh s|ight|y gritted teeth. And it's
intereatingthat her |iterary reputaticn has been made
thrcugh a medium sc remcte frcm the cne she used
tc teach.
'Ycu'd be surprised hcw many academics dc read
murder mystery thcugh: she adds. 'It makes nc
inte||ectua| demands, and It's what ycu want after a
day cf |iterary debate.' That said, Vs Lecn is big
business. She se||s In bu|k, her bccks are trans|ated
intc nineteen |anguagesand she's a hcusehc|d name
In German-speaking ccuntries. 'A|| cf which is
gratifying fcr me perscna||y, and I dcn't mean tc
rubbish my cwn wcrk. but murder mystery is a craft,
nct an art. Scme pecp|e gc tc crime ccnventicns and
de|iver |earned papers cn the way Agatha Christie
presentsher characters,but they're cut cf their minds.
I stay away frcm such events.'
Lecn a|sc stays away frcm mcst cf the cther
expectedhaunts cf crime writers, |ike ccurtrccms and
pc|ice staticns - 'I've cn|y kncwn twc pc|icemen,
neither cf themwe||: - which acccuntsfcr the absence
cf technica| |ega| detai| in the bccks.What's mcre, the
few pcints cf pc|ice prccedurethat appear are usua||y
invented - as, she admits, they're bcund tc be when
ycu set a murder series in a p|ace where murders
never happen. 'Venice is sma||, ccmpact, prctected by
its gecgraphy- there's rea||y nct much crime.' C|ear|y
12
the keything abcut her murder stcries isn't credibi|ity.
Predictabi|ityccmesc|csertc the mark:setting a series
in a fixed |ccaticn that the reader finds attractive, with
a ccnstant cast cf characters.
And that's what Ocnna Lecn dces. Her unique
se||ing pcint is Venicewhich, as the reviewers a|ways
say, ccmes thrcugh with such vita|ity and
fcrcefu|ness in Lecn's writing that ycu can sme|| it.
There's a set cast cf characters, |ed by a midd|e-aged
detective, Ccmmissaric Brunetti, and his wife (a
disi||usicned academic).Then there are her standard
jckes - cften tc dc with fccd. Indeed, Lecn |ingers so
ecstatica||y cver the detai|s cf |unch, the pursuit cf
justice frequent|y gets diverted. The eating is a |iterary
device - part cf the pattern cf each ncve|, intc which
she s|cts the p|ct. 'That's hcw ycu hcck ycur readers,
whc |ike a kind cf certainty. And the mcst attractive
certainty cf crime ficticn is that it givesthem what rea|
|ife dcesn't. The bad guy gets it in the end.'
Indeed, when the ccnversaticn switches tc Dcnna
Lecn's cther |ife, 1/ Co mp/8BSO Bs ro cco , the cpera
ccmpeny she he|ps run, sheta|ks abcut barcquecpera
as thcugh it were murder-mystery:fue||ed by 'pcwer,
jea|cusy and rage,despair, menace'which are her cwn
wcrds fcr the s|eevenctescf a new CDcf Hande|arias
by the ccmpany, packaged under the tit|e Th e
Aba ndo ned Scrceress.Designedtc tcur rare wcrks in
ccncert fcrmat, 1/ Co mp/es s o was set up in 2001 in
cc||abcraticn with ancther US exi|e in Ita|y, the
musicc|cgist A|an Curtis. 'It started as a cne-cff. There
was a rare Hande| cpera, Arminio , that A|an thcught
shcu|d be perfcrmed, and it becamean cbsessicnfcr
him unti| eventua||y I said, '00 ycu want tc ta|k abcut
this cr dc ycu wanttc dc it7' Scwe did it. I rang a friend
whc runs a Swiss cpera festiva|. We cffered him a
prcducticn. Then had eight mcnthstc get it tcgether.'
Scmehcw it came tcgether, and 1/ Co mp/es s o is
ncw an cngcing venture. Curtis dces the hands-cn
artistic and administrative wcrk. Lecn |ends her name
which 'cpens dccrs in a|| thcse German-speaking
p|aces' and, crucia||y, underwrites the ccsts. In
additicn, her pub|ishing ccmmitments take her a||
cver Eurcpe- where she keepsa |cckcut fcr pctentia|
singers, and scmetimes even features in the
prcducticns herse|f: nct singing ('I dcn't') but reading
the cdd snatch frcm her bccks.
Paper 1 Reading
13 What is suggested about the novel Death at La Fenice in the first paragraph?
A Donna based the plot on a real-life event she had witnessed.
B Donna didn't envisage the work ever being taken very seriously.
C Donna had to be persuaded that it was good enough to win a prize.
D Donna ebarked upon it as a way of bringing about a !hange in her life.
14 "he se!ond paragraph paints a pi!ture of Donna as soeone who
A has little respe!t for her fellow a!adei!s.
B regrets having given up her #ob in a university.
C was unsuited to being a university tea!her.
D failed to ake a su!!ess of her a!adei! !areer.
15 $ro Donna's !oents in the third paragraph% we understand that
A she feels !rie fi!tion should be !onsidered alongside other types of literature.
B she is pleased with the level of re!ognition that her own novels have re!eived.
C she regards her own novels as inferior to those of Agatha Christie.
D she finds the popularity of !rie novels aongst a!adei!s very satisfying.
16 Donna is des!ribed as an untypi!al !rie writer be!ause
A she is able to iagine !ries being !oitted by unlikely !hara!ters.
B she is un!on!erned whether or not her stories appear realisti!.
C she has little interest in the ways !riinals think and operate.
D she anages to !oe up with iaginative new ideas for her plots.
17 Donna's greatest strength as a !rie writer is seen as
A her avoidan!e of a fi&ed approa!h.
B her in#e!tion of huour into her stories.
C the !lear oral essage she puts a!ross.
D the strong evo!ation of pla!e she a!hieves.
18 When Donna helped set up / I Comp/esso Barocco,
A she didn't e&pe!t it to be a long-ter pro#e!t.
B she saw it as ore interesting than her writing work.
C she had a fundaental disagreeent with her ain !ollaborator.
D she was attra!ted by the !hallenge of the first deadline.
19 'n what way is Donna iportant to / I Comp/esso Barocco?
A (he provides essential finan!ial support.
B (he oversees its day-to-day organisation.
C (he helps as a translator.
D (he organises the re!ruitent of perforers.
13
Test 1
Part 4
You are going to read an article about the human mind. For questions 20-34, choose from the
sections (A-E). he sections ma! be chosen more than once.
"ar# !our ans$ers on the separate answer sheet.
% 20 & %
G_~
% 2 2 1 %
[2 3]-~
A- %
[2 5J-~
%
Which section mentions the following?
things that !ou $ill not need if !ou ado't a certain mental technique
using an image of a familiar 'lace to hel' !ou remember things
being able to thin# about both 'articular 'oints and general 'oints
things that !ou ma! not ha(e a clear mental 'icture of
something$hich a''ears to be disorganised
anno!ance at !our inabilit! to remember things
bearing in mind $hat !ou $ant to achie(e in the future
L # J_
B-_~
~--~
r-i)
-~
an e*am'le of an industr! in $hich 'eo'le use 'ictures effecti(el!
an e(er!da! e*am'le of failure to #ee' information in the mind
the im'act a certain mental technique can ha(e on 'eo'le listening
to $hat !ou sa!
an assertion that certain things can be #e't in !our mind more
easil! than others
information that it is essential to recall in certain situations
being able to consider things from (arious 'oints of (ie$
+%
things that come into !our mind in an illogical sequence
~
[~]
remembering $ritten $or# b! imagining it in conte*t
1 4
--]
,
Paper 1 Reading
Picture this ... with your mind's eye
Trying to understand and cope with life, we impose our own frameworks on it and
represent information in different symbolic forms in our mind, writes Jonathan Hancock.
A
Think of the mental maps you use to find your way
around the places you live and work. Which way up do
you picture towns and cities you know well? Which
details are highlighted, which ones blurred? Just as the
map of London used by passengers on the Underground
is different from the one used by drivers above ground,
so your mental framework differs from that of other
people. We also use frameworks to organise more abstract
information. Many people say that they can visualisethe
position of key passagesin books or documents. Mention
a point made by the author, and they can recall and
respond to it by picturing it in relation to other key
points within the larger framework they see in their
minds eye. !n a chaotic"looking desk, it isoften possible
to see a mental picture of where the key pieces of paper
are and find a particular document in seconds.
B
We all have our own natural strategies for structuring
information, for altering and re"arranging it in our
minds eye. #ou can take control of your thinking by
increasing your control of the mental frameworks you
create. $ince %ncient &oman times, a specific framing
techni'ue has been used to improve memory and boost
clarity of thought. The concept is simple( you design an
empty framework, based on the shape of a building you
know well, and get used to moving around its rooms and
hallways in your mind. Whenever you have information
to remember, you place it in this virtual storehouse.
Whatever it is you are learning " words, numbers,
names, )obs, ideas " you invent pictorial clues to
represent each one. The mind prefers images to abstract
ideas, and can retain vast numbers of visual clues. Just as
advertisers bring concepts to life with key images, you
highlight the important points in a batch of information
and assign each of them an illustration.
C
Memory and place are closely linked. *ave you ever
walked upstairs, forgotten what you went for, but
remembered when you returned to where you were
standing when you first had the thought? When you are
trying to learn new information, it makes sense to use the
minds natural tendencies. +n your mind, you return to
the imaginary rooms in your virtual storehouse, and
rediscover the images you left there. ,icero, perhaps the
greatest orator in history, is reputed to have used this
techni'ue to recall comple- legal argumen../,addressing
the &oman $enate from memory for days on end. #ou
can use it to remember all the employees in your new
workplace, the )obs you have to do in a day, month or
year, sub)ect headings for a comple- piece of work, or the
facts you need to have at your fingertips under
pressurised circumstances.
o
The systemof combining images and ideas works so well
because it involves global thinking, bringing together
the two sides of your brain. The left side governs logic,
words, numbers, patterns and structured thought " the
frameworks you build " and the right side works on
random thoughts, pictures, daydreams " 0he memorable
imagery you fill them with. The fearless, imaginative
creativity of the child combines with the patterning,
prioritising, structured thinking of the adult. The
memory is activated with colours and feelings, as you
create weird, funny, e-citing, surreal scenes1 and the
information is kept under control by the organised
frameworks you design. +magination is the key. #ou enter
a newdimension, dealing with information in a form that
suits the way the mind works. +n this accessible form,
huge amounts of data can be carried around with you.
#ou never again have to search around for an address
book, diary or telephone number on a scrap of paper.
#our memory becomes a key part of your success, rather
than the thing you curse as the cause of your failure.
E
2ringing information into the field of your imagination
helps you to e-plore it in greater depth and from
different angles. $toring it in the frameworks of your
mind allows you to pick out key details but also to see
the big picture. #ou can use your trained memory to
organise your life( to see the day"to"day facts and figures,
names, times and dates, but also to keep in touch with
your long"term goals. 2y understanding the way your
mind works, you can make yourself memorable to
others. 3ive your thoughts a shape and structure that
can be grasped and others will remember what you have
to say. #ou can take your imaginative grasp of the world
to a new level and, by making the most of mental frames,
you can put the information you need at your disposal
more readily.
45
Test 1
PAPER2 WRITING(1 hour 30 minutes)
Part 1
You must answer this question. Write your answer in 180-220 words in an appropriate style.
1 You are studying at a college in Canada. ecently you and some other students attended a
two-day Careers Con!erence. As the college paid !or you" the College #rincipal has as$ed you
to write a report a%out the con!erence. You and the other students ha&e discussed the
con!erence and you ha&e made notes on their &iews.
eadthe con!erence programme together with your notes %elow. 'hen" using the
(n!onnation appropriately" write a report !or the #rincipal e)plaining how use!ul the
con!erence was and ma$ing recommendations !or ne)t year.
CAREERS CONFERENCE
Vancouver Hall
Friday - Sunday, 9am-!m
E"hi#ition - over 1$$di%%erent &o#s
'al(s on )ide ran*e o% careers
E"!erts availa#le to *iveadvice
Notes on students' views:
- exhibition grest
- some talks good
- not enough people to answer questions
- %etter lor science students than e.g. language or
history students
*ow write your re!ort !or the College #rincipal" as outlined a%o&e. You should use your own
words as !ar as possi%le.
1
Paper 2 Writing
Part 2
Choose oneof the following writing tasks. Your answer should follow exactly the Instructions given.
Write approximately 220-260 words.
2 You have seen the following announcement in an international magazine.
FASHION AND CHANGING LIFESTYLES
o you thin! that fashion reflects changesin how people live"We would li!e to !now how
fashion in clothes has changed since your grandparentswere young# and what this reveals
a$out changesin society in your country.
%he most interestingarticleswill $e pu$lished in the next issueof our magazine.
Write your article.
& 'n (nglish-spea!ing friend is writing a $oo! on %)programmes in different countries. Your
friend has as!ed you for a contri$ution a$out the most popular %)programme Inyour country.
Your contri$ution should*
+ $riefly descri$e the most popular %)programme
+ explain why the programme is so popular
+ explain whether or not you thin! It deserves Its popularity.
Write your contri$ution to the $oo!.
, You seethis notice inthe local li$rary of the town where you are studying (nglish.
%he Intemational Development Agency hasgiven our town a grant to $e spent on improving
transportand housingfacilities.
%he -lanning irector invites you to send a proposal outlining any pro$lems with existing
transport and housing facilities and explaining how they can $e improved. ' decision can
then be madea$out how the money should $e spent.
Write your proposal.
. 'nswer one of the following two /uestions based on one of the titles $elow.
012 3ingsley 'mls* Lucky Jim
As part of your course# your teacher has as!ed you for suggestions for a story to study in
class. You decide to write a$out Lucky Jim. Inyour report# $riefly outline the plot and say why
you thin! Lucky Jim would $e interesting for other students.
Write your report.
(b) 4ohn 5risham* %hePelican Brief
As part of your course you have chosen to write an essay with the following title.
6Who is the most corrupt character in %hePelican Brief? 5ive reasons for your views.6
Write your essay.
17
Test 1
PAPER3 USEOF ENGLISH(1 hour)
Part 1
For questions 1-12, reathe te!t "e#o$ an e%ie $hi%h ans$er (A, &, 'or () "est )its ea%h *a+,
-here is an e!a.+#e at the "e*innin* (/),
0ar1 2our ans$ers on the se+arate ans$er sheet,
E!a.+#e3
o A instru%tion & in)or.ation ' o+inion ( a4i%e
o
A ( & c
-
Gir#s an te%hno#o*2
I) 2ou $ant 2our au*hter to su%%ee, "u2 her a to2 %onstru%tion set, -hat is the
(/) ,,,,, )ro. &ritain5s (1) ,,,,, )e.a#e en*ineers an s%ientists, 0arie-Noe##e &arton,
$ho heas an En*ineerin* 'oun%i# %a.+ai*n to en%oura*e *ir#s into s%ien%e an
en*ineerin*, .aintains that so.e o) &ritain5s .ost su%%ess)u# $o.en ha4e ha
their %areers (2) ,,,,, "2 the to2s the2 +#a2e $ith as %hi#ren, E4en *ir#s $ho en
(3) ,,,,, no$here near a .i%ro%hi+ or .i%ros%o+e %ou# "ene)it )ro. a "etter (6) ,,,,,
o) s%ien%e an te%hno#o*2,
5It5s a (7) ,,,,, o) *i4in* the. e!+erien%e an %on)ien%e $ith te%hno#o*2 so that
$hen the2 are (8) ,,,,, $ith a situation requirin* so.e te%hni%a# 1no$-ho$, the2 )ee#
the2 %an han#e it an on5t 9ust (:) ,,,,, e)eat i..eiate#2,5 sa2s 0rs &arton, 5I
"e#ie4e that #ots o) *ir#s )ee# unsure o) the.se#4es $hen it %o.es (;) ,,,,, te%hno#o*2
an there)ore the2 .i*ht "e #osin* out on 9o"s "e%ause the2 are re#u%tant e4en to
a++#2 )or the.,5
Resear%h re%ent#2 %arrie (<) ,,,,, su**ests that s%ienti)i% an %onstru%tiona# to2s
shou# "e (1/) ,,,,, to *ir#s )ro. an ear#2 a*e, other$ise the resu#t is 5so%ia#isation5
into stereot2+i%a##2 )e.a#e (11) ,,,,, , $hi%h .a2 e!+#ain $h2 re#ati4e#2 )e$ *ir#s
stu2 s%ien%e an en*ineerin* at uni4ersit2 in &ritain, On#2 16= o) those $ho ha4e
*one )or en*ineerin* (12) ,,,,, at uni4ersit2 this 2ear are $o.en, a#thou*h this )i*ure
oes re+resent an i.+ro4e.ent on the := re%ore so.e 2ears a*o,
18
Paper 3 Use of English
1 A foremost B uppermost C predominant D surpassing
2 A styled B shaped C built D modelled
3 A in B by Con D up
4 A hold B grasp C insight D realisation
5 A matter B situation estate D cause
6 A approached B encountered C presented D offered
7 A admit Ballow C receive D permit
8 A for B to C from D with
9 A off B through C forward D out
10 A accessible B feasible C reachable D obtainable
11 A characters B parts estates D roles
12 A options B alternatives C selections D preferences
19
Test 1
Part 2
For questions 13-27, read the text below and think of the word which best fits each gap. Use only
one word in each gap. here is an exa!ple at the beginning "#$.
%rite your answers &' ()*&)+ +,,-. on the separate answer sheet.
,xa!ple/ [!] L - I W _ I . _ _ I _ _ . I _ T _ . _ I _ H . . . . L . . I _ _ _ . _ _ _ _ _ . _ _ _ . _ _ _ . _ _ _ . _ _ _ _ _ . _ _ _ _ . _ _ _ . _ _ _ _ . _ _ _ _ . _ _ _ _ . . . . . _ . _ _ _ _ . - - - - - l . - - - '
Weather in Antarctica
he !ost extre!e weather conditions experienced in )ntarctica are associated "#$ ..... bli00ards.
hese are si!ply strong winds with falling snow "13$ ..... , !ore co!!only, snow that is picked
up and pushed along the ground by the wind. 1li00ards !ay last for days at "12$ ti!e, and in
so!e cases it can be al!ost i!possible for people to see. &t is not unusual "13$ ob4ects only
about a !etre or "15$ ..... away to beco!e unrecognisable. .cientists doing research in the area
"17$ ..... then confined to their tents or cara6ans. %e think of bli00ards "17$ ..... extre!ely cold,
while in fact te!peratures in the )ntarctic are usually higher than nor!al "18$ ..... a bli00ard.
9a4or bli00ards of se6eral days in length occur !ore frequently in so!e locations than in others.
"2#$ ..... !ay be eight or ten such bli00ards in any particular place "21$ ..... an annual basis. hey
often cause considerable da!age, so that any scientific buildings or equip!ent constructed in
this region !ust be specially !ade to gi6e as "22$ ..... protection as possible.
&f the weather is fine, 6isibility in )ntarctica is usually excellent because of the clear air and the
absence of dust and s!oke. "23$ ..... this !eans is that people often greatly underesti!ate the
distance of ob4ects and features of the landscape. )lso, 6ery large features "22$ ..... as !ountains
!ay appear to be abo6e the hori0on, or e6en upside "23$ hese :!irages:, "25$ are 4ust
tricks played by the eyes in certain conditions, ha6e led to explorers in the )ntarctic !aking !any
errors "27$ ..... 4udge!ent.
20
Part 3
For questions 28-37, read the text below. Use the word given in capitals at the end of some of the
lines to form a word that fits in the gap n the same line. !here is an example at the beginning "#$.
%rite &our answers ' ()*!)+ +,!!,-. on the separate answer sheet.
Freud and /reams
.igmund Freud is regarded as the "#$ ..... of ps&choanal&sis. 0is wor1
has been "28$ ..... in man& areas but he is perhaps best 1nown for
having drawn our "22$ ..... to dreams, which he believed were clues to inner
conflicts. !he fact that a dream is "3#$ ..... a disguised expression of what is
happening in the unconscious mind means that it is difficult for the dreamer
to understand ts "33$ ...... Freud believed that the sleeping mind resorted
to a whole range of unconscious wishes in forms which would prevent
the dreamer from having an& "32$ ..... of their true nature. n Freud4s
view, interpreting the meaning of the dream required a ps&choanal&st with
an expert "33$ ..... of how dreams disguise desires. !he ps&choanal&st4s
lac1 of personal "35$ ..... in the dream would enable himto see the dream
ob6ectivel&.
)ccording to Freud, dreams use a "37$ ..... s&mbolic language quite
different from that of wa1ing life, but the fact is there is no hard
"38$ ..... for believing that dreams reall& do reflect our unconscious wishes.
'evertheless. Freud "37$ ..... made a ma8or contribution to twentieth-centur&
thought and man& useful nsights into ps&chological processes have been
gained through his wor1.
F9U'/
'F+U,'(,
)!!,'/
,..,'!)+
.:'F;
)%)-,
<'9%
'=9+=,
>;.!,-;
,=/,'!
/9U?!
21
Test 1
Part 4
For questions 3&-42, think of one word only which can be used appropriately in all three sentences.
Here is an example !".
#xample$
o %he committee decided to the money equally between the two charities.
& can't belie(e that )ohn and *a++ie ha(e decided to up after 2! years of
marria+e.
%o ser(e a watermelon you need to it down the centre with a sharp knife.
#xample$ ,-.& / & p & 0 & & & % &
1rite only the missin+ word &2 345&%40 0#%%#67 on theseparate answer sheet.
38 7ally's front tooth is (ery -&'m sure it'll come out soon.
)ane has lost so much wei+ht that all her clothes are too .
%he horse +ot from the stable and started trottin+ towards the road.
39 %he thlef the watch into his pocket when hethou+ht no one was lookin+.
7e(eral (isitors to the castle almost on the newly polished floor.
Thespeaker afew references to the local football team into his speech, which
the audience appreciated +reatly.
4! 3hris arri(ed (ery early for his fli+ht in order to be at the .................:... of the queue when
the check-in desk opened.
*y sister's +ot a really +ood for fi+ures, but &'m hopeless at maths.
;eor+e has <ust been promoted to of department so he'll be e(en more busy
from now on.
22
41 The restaurant out of fish quite earty on inthe evening.
The boat Into a storm as it neared the Frenchcoast.
Mrs Benson the company single-handed after her husband's death.
42 This is the eact !here the famous scene from the film !as shot.
"henthey felt the first .......##...#..#..... of rain$ they gathered the picnic together and rushed
inside.
The high ..#..#....#..#....... of my trip around India !as definitely the trip to %alcutta.
23
Test 1
PartS
For questions 43-50, complete the second sentence so that it has a similar meaning to the first
sentence, usingthe word given. Do not change theword given. You must use between three and
six words, including the word given. Here is an example (0).
xample!
o Fernanda refused to wear her sister"s old dress.
#$%
Fernanda said that her sister"s old dress.
%he gap can be filled with the words "she would not wear", so &ou write!
xample! 0'(H )$*+D #$% ),-
)rite the missing words .# /,0.%,+ +%%-( on the separate answer sheet.
12 3auro sa&s he prefers to do his homewor4 on his own.
-,%H-
3auro sa&s that do his homewor4 with
other people.
11 /lara said that she had not seen the missing letter.
H,5.#6
/lara ...........................................7........................ the missing letter.
24
18 .t too4 +a&lafive minutes to find her car 4e&s.
(0#%
+a&la for her car 4e&s.
48 A short meeting of the cast will take place after today's rehearsal.
BY
Today's rehearsal .................................................... a short meeting of
the cast.
47 I'll be happy to show you round the sights of my city when you come to visit me.
TAKE
It will be a ................................................................... sightseeing tour of my
city when you come to visit me.
48 Rousseaupainted fabulous pictures of the rainforest although he had never travelled
outside urope.
SPITE
Rousseau painted fabulous pictures of the rainforest
............................................................... travelled outside urope.
4! It is thought that one in every five people cannot control how much they spend.
UNABLE
"ne in everyfive people is thought .................................................................
their spending under control.
#$ %y passport needs renewing because I'm going abroad this summer.
GET
I need ......................................................... because I'm going abroad
this summer.
25
Test 1
PAPER4 LISTENING(approximately 40 minutes)
Part 1
You will hear three different extracts. For questions 1-6, choose the answer (, ! or ") which fits
#est accordin$ to what you hear. %here are two questions for each extract.
& 'xtract (ne &
You hear part of an inter)iew with a woman who wor*s in retail mana$ement.
1 +ow does the woman feel now a#out her first ,o# in retailin$-
pleased #y the way she handled the staff
! confident that it $a)e her a $ood start
" relaxed a#out the mista*es she made
. /hat is the woman ad)ised to do next-
reflect on her s*ills
! )olunteer for extra wor*
" discuss her situation with her #oss
'xtract %wo &
You o)erhear a woman tellin$ a friend a story a#out a swan.
0 /hat pro#lem did the woman ha)e with the swan-
1he misunderstood its intentions.
! 1he underestimated the speed of its approach.
" 1he failed to realise the consequences of distur#in$ it.
4 /hat is the man2s reaction to the story-
+e feels he would ha)e handled the situation #etter.
! +e is uncon)inced #y the woman2s )ersion of e)ents.
" +e fails to see quite how serious the pro#lem was.
26
Paper 4 Listening
Extract Three
You hear part of an interview with Bruce Loader, a successful businessman who is talking about
his early life.
S Why did Bruce decide to give up the idea of studying art?
!e failed to gain a place at art college.
B !e became tired of doing representational art.
" !e was persuaded that he could not realise his ambition.
# What was his father$s reaction to Bruce$s decision?
!e was an%ious to discuss altemative employment options.
B !e was angry that a good opportunity had been wasted.
" !e was dismissive of the advantages of higher education.
27
Test 1
Part 2
You will hear an explorer called Richard Uvingstone talking about a trip he made In the rainforest
of South America. For questions !"#$ complete the sentences.
A TrIp In the Rainforest
because the& couldn't get past a 1 , - - - (.(((!'
)he& decided to walk through the *ungle
as far as the 1 ' - - - - - - - - ' - _ 8 - - - 1 1 marked on the map.
Richard sa&s that during the walk$
the& were alwa&s both 1 ' - - - - - - - - ' - - - - '
and 9
1 1 0 1
and
1 1 1 1
1 1 2 1
)he first sign of human activit& that the& found was a 1
'!!!!!!!
In a deserted camp$ the& found some
soup made from unusual 1
'-------------------'----'
Richard sa&s that b& the time the& had reached the camp$
the& were lacking In '!!!I L- - - - - '
Richard sa&s that after the meal$
the& began to feel 1 , - - - - - - " 1 _ 1 _ 3 - - ' 1 about what the&'d done.
+efore leaving the camp$
the& left the sum of 1 ' - - - - 1 ' - - - - 1 4 - - - 1 1 to thank their host.
28
Richard and %atthew abandoned their boat
Paper 4 Listening
Part 3
You will hear part of an interview with the astronaut Charles Duke, who is talking about his trip to
the moon. For questions 15-2, !hoose the answer "#, $, eor D% whi!h fits best a!!or&ing to what
'ou hear.
15 (ow &i& Charles feel about spa!e travel as a bo')
# (e thought it was unlikel' to happen.
$ (e regar&e& it as more than s!ien!e fi!tion.
e (e was fas!inate& b' the i&ea of it.
D (e showe& no parti!ular interest in it.
16 *hat &i& Charles !onsi&er to be the har&est part of the training)
# feeling trappe& in the heav' spa!esuit
$ en&lessl' pra!tising the lunar surfa!e lan&ing
e !onstantl' being afrai& of making a mistake
D being unable to move his arms an& han&s
17 *hat was Charles+s rea!tion when he first foun& out he was going to the moon)
# (e realise& he ha& to be !autious.
$ (e felt prou& to be given the opportunit'.
e (e trie& to !ontrol his e,!itement.
D (e refle!te& on his !han!es of survival.
18 (ow &i& the !rew feel when the' ha& lan&e& on the moon)
# -he' felt as if the' were !oming home.
$ -he' realise& the' ha& a!hieve& something spe!ial.
e -he' were afrai& of what the' might fin& on the surfa!e.
D -he' were worrie& about how the' woul& take off again.
19 *hat feature of the moon ma&e the greatest impa!t on Charles)
# the brightness of the sun
$ the vastness of the sk'
e the loneliness of the pla!e
D the absen!e of an' stars
20 *hat &oes Charles feel was the most memorable part of his mission)
# nearl' falling into a !rater
$ walking on the moon+s surfa!e
e seeing things never seen before
D hol&ing a pie!e of the moon
29
Part 4
~
(n
. . . .
-
w
o
You will hear five short extracts in which peopleare talking about an occasion when they came intocontact with a well-known celebrity.
TASK O! TASK T"O
#or $uestions %&-%'( choose from the list A-) what each
speaker says about coming into contact with a celebrity.
#or $uestions %*-+,( choose from the list A-) the
opinion each speaker gives about the celebrity.
"hile you listen you must complete both tasks.
A - faile. to recognise the person.
Speaker& ~
A )e/She became more agitate. than
Speaker& ~ necessary.
0 - realise. - ha. forgotten something.
Speaker% [E
0 )e/She en1oye. causing trouble.
Speaker% ~
2 - insiste. on something.
2 )e/She appeare. totally at ease.
3 - was upset by personal criticism.
Speaker+ ~
3 )e/She expecte. too much privacy.
Speaker+ ~
! - ha. been given incorrect
information. ! )e/She seeme. insincere.
# - was pleasantly surprise..
Speaker4 [E
# )e/She wasn5t able to cope with fame. Speaker4 6!7
8 - refuse. a re$uest.
SpeakerS [E
8 )e/She talke. .own to me.
SpeakerS ~
) - was amuse. by something. ) )e/She eventually accepte. the
regulations.
Paper 5 Speaking
PAPER5 SPEAKING (15 minutes)
There are two examiners. One (the interlocutor) conducts the test, providing you with the
necessary materials and explaining what you haveto do. The other examiner (theassessor) is
introduced to you, but then takes no further part in the interaction.
Part 1 ( minutes)
The interlocutor first asks you and your partner afew !uestions. The interlocutor asks candidates
for some information about themselves, then widens the scope of the !uestions by asking about,
e.g. candidates" leisure activities, studies, travel and daily life. #andidates are expected to
respond to the interlocutor"s !uestions, and listen to what their partner has to say.
Part 2 (a one$minute "long turn" for each candidate, plus %$second response from the
second candidate)
&ou are each given the opportunity to talk for about a minute, and to comment briefly after your
partner has spoken.
The interlocutor gives you a set of pictures and asks you to talk about them for about one
minute. 't is important to listen carefully to the interlocutor"s instructions. The interlocutor then
asks your partner a !uestion about your pictures and your partner responds briefly.
&ou arethen given another set of pictures to look at. &our partner talks about these pictures for
about one minute. This time the interlocutor asks you a!uestion about your partner"s pictures
and you respond briefly.
Part 3 (approximately( minutes)
'nthis part of the test you and your partner are asked to talk together. The interlocutor places a
new set of pictures on the table between you. This stimulus provides the basis for a discussion.
The interlocutor explains what you haveto do.
Part 4 (approximately ( minutes)
The interlocutor asks some further !uestions, which leads to a more general discussion of what
you havetalked about in )art . &ou may comment on your partner"s answers if you wish.
31
Test 2
Part 1
You are going to readthree extracts which are all concemed in some way with communication. For
questions 1-6, choose the answer (A, , !or ") which you thin# $its %est according to the text. &ar#
your answers on the se'arate answer sheet.
How useful is the term 'non-verbal expression'?
The term 'non-verbal' iscommonly used to describe such communicative resources asgesture, facial
movement and tone of voice. The term has long been useful in challenging the misconception that
words constitute the whole of communication. However, afurther assumption hassometimes seemed
to follow: that 'non-verbal' expression is something unitary, independent of verbal communicating,
or classifiableunder some single term like 'body language'. This is to drastically simplify our actual
practice. s pointed out by writers on language and social interaction, gestural and vocal actions
are often integrated rather than autonomous, and verbal and non-verbal communicating usually
produced in a highly coordinated fashion. !roposing a concept of 'non-verbal expression' has led to
an unfounded generalisation about this supposedly distinct sub"ect: that it is the medium for
expressing emotions and relations rather than conscious thought or ideas, for example. #ven if
this were true, the fact remains that the resources covered by the term 'non-verbal' are diverse
and complex in the extreme. $t can only be misleading to bunch them together as a distinctive
communicative mode.
1 (he writer su''orts the )iew that non-)er%al ex'ression
A is more com'lex than )er%al ex'ression.
is a se'arate $ield o$ study $rom )er%al ex'ression.
! is commonly used in con*unction with )er%al ex'ression.
o is a%le to communicate more in$ormation than )er%al ex'ression.
+ (he writer suggests that we should
A recognise the di$$erences %etween )er%al and non-)er%al ex'ression.
%e aware o$ the many as'ects o$ non-)er%al ex'ression.
! do $urther research into non-)er%al ex'ression.
o acce't the limitations o$ non-)er%al ex'ression.
%%
Test 2
P u b l i c s p e a k i n g
Last year I started work with a new company. Unfortunatdy, inmy new role I was required to speak
inpublic, at conferences. The thought filled me with dread, because I was sure my voice was boring.
Also, I wouldn't know what to say. Anyway, when the time came I tried not to panic, and went back
to first principles I made a plan, first deciding my key message. This gave me a structure, and was the
first step to dispelling my nerves.
Then I found a voice coach who taught me how to relax and breathe properly. !uddenly there was
power behind my voice and I found I was incontrol. It was like going to a vocal gym. Instead of
gabbling my sentences, I slowed down and took time to en"oy the words.
I lacked the confidence at first to speak without a script, but I learnt not to write everything down
to the last word # the audience switched off when I did that. A friend gave me the tip of memorising
the first few sentences, then I could make eye contact with the people I was speaking to # engage
with them.
3 Inthis article the writer's aim is to show that
A public speaking need not be anything to worry about
B there Is always something new for a speaker to learn.
C it Is Important for a speaker to have an outgoing personality.
D success Inpublic speaking depends on the uality of the speaker's memory.
! "he writer says he trained in how to speak at conferences by
A studying articles wrttten by well#known public speakers.
B attending a course on how to give effective presentations.
C getting help with the physical aspects of public speaking.
D following colleagues' advice on ways of keeping the audience's attention.
$%
Paper 1 Reading
Iowa State University: Business and Technical
Communication
Essay Assignment
This assignment asks you to write an essay suitable for publication in a professional
journal or newsletter. Youwill identifyan issue that's interesting to teachers and/or
workplace professionals in business and technical communication and then pose a
question you want to explore about that issue. Youressay will be an argument for a
clearly stated position and should be presented in a logical, understandable, and
engagingmanner. Youressay should be targeted to a particular journal, which means
that you needto read enougharticles and essays inthat journal to identifytheir general
features.
Consider the following questions:
!hat are the con"entions of essays in the journal or newsletter
you are targeting#
!hat is the question you are addressing#
!hat is the argument you are making#
Cover Memo
!hen you submit your essay, please include a co"er sheet in which you identifythe
features of essay con"entions that you consciously employed to make the essay
appropriate for the intended journal or newsletter. This is the meta$cogniti"eelement $
you knowingnot onlywhat you'"e done but whyyou did it. %lease indicate the journal
or newsletter to whichyou planto submit your re"ised essay.
5 What are students expected to do in their assignment?
A put forward an Original idea about a subject
B provide support for a particular point of view on a topic
C present an argument against an existing essay or article
o offer a solution to an unresolved issue in a particular field
6 Along with their essay students are as!ed to provide a note which
A indicates the reason for their choice of topic"
B identifies the bac!ground texts they have read"
C justifies their choice of intended journal or newsletter"
o specifies the essay#writing characteristics used in their assignment"
&'
Test 2
Part 2
You are going to read a newspaper article about chocolate cake. Six paragraphs have been
removed from the article. Choose from the paragraphs A-G the one which fits each gap (7-12.
!here is one extra paragraph which "ou do not need to use. #ark "our answers on the separate
answer sheet.
CHOCOLATE CAKE WARS
It's the most imitated cake in the world. But who created the original Sacher torte,
asks Chandos Elletson?
Vienna Is heaven for cake lovers. After
seeing the city's sights, there Is nothing
better to do than sit Ina coffeehouse and
gorge on delicious cakes. These great
cakes, or tortes, are part of Austrian
folklore, and the recipes for them are
closely-guarded secrets. They ere
Invented by brilliant and creative young
chefs back In the mists of time and some
have even been the sub!ect of court cases
beteen rival confectioners. "o,
Inevitably, the top Viennese cakes are
even avallableover the Internet.
7
The date as #$%2.$n a royal palace outside Vienna, the
PrIncehad sent an edict to the kitchen for a nedessert to
be created In honour of some Influentialguests, and as
anticipating something special. The head chef as IIIand
the order ended up ith a #&-yearo'(ldpastry apprentice
named )ran*+acher.
$
,hat the chef thought hen he returned Is unknon, but
+acher kept his recipe a secret and named the cake after
himself. -e ent on to found his on famous hotel and
cafe. Today, hundreds ofthousands of hungry customers,
most of them tourists, come each year to eat the same
cake, baked to Its original recipe.
.
/emel, founded In #0.%,as one such business. /emel
himself, ho as baker and confectioner for the
1mperor's palace, claimed that +acher orked for him
and that their +acher torte as the true original. Acourt
of la decided otherise, and only +acher may call the
cake original. The /emel +acher torte, as It Is no
knon, differs minutely from the +acher, but both cakes
are made ith secret blends of home-made chocolate.
%&
10
2ne contender is the Imperial -otel In
Vienna, hose Imperial torte Is also sold
online, and has a myth and a chef to go
ith It. This time It Is #$0%,and 1mperor
)ran* 3osef Is about to Inaugurate the
imperial and 4oyal 5ourt -otel. 3unior
cook6avier 7olbner ishes he could bake
a cake for his 1mperor like all the
magnificent creations donated b" the
monarchy's top chefs.
3udging by the date, the milk chocolate ould also have
been a first. Accordingto Chocolate: !he Definitive Guide,
milkchocolate as not Invented until #$08,hen a +iss
confectioner mi9ed chocolate ith the condensed milk
made by his friend -enri "estle. ,hatever the originof the
story, It Is said that the 1mperor noticed the unusually:
shaped cake. -e tried It, ent back for more, and so the
legend of the Imperial torte as born.
"o7olbner's recipe, a secret In keeping ith Viennese
tradition, has recently been rediscovered and, deep $nthe
recesses of the hotel, a dedicated production kitchen
chums out thousands of these delicate cakes for dispatch
all over the orld.
12
+o the chocolate cake ars are set to continue ell Into
the tenty-first century. 2nly time ill te;ho ins the
ne9t round of the battle. In the meantime there Is plenty
of opportunity to test the market.
A However, a number of rivals strongly
contended that their own version of the
famous cake was actually the original. As
a result, a chocolate cake war raged in
Vienna's coffee houses for many years.
B The most famous and most imitated of all
Viennese cakes is the Sacher torte. Its
recie is still secret desite a version
being available in every coffee sho you
care to visit. It was invented in the days
when chocolate was a lu!ury, available
only to the very rich.
" However, Vienna's stranglehold on the
internet chocolate cake market is now
under threat from #aris. A well$known
%rench chocolatier has recently &oined
the battle by designing a 'traveller's
chocolate cake' that will be sold from his
website.
o Sacher, too, manufactures its own
chocolates and kees the recies secret,
with very good reason. They once
emloyed a foreign trainee chef who
sent his time hotograhing everything.
'n his return to his home country he
oened a cafe sellingthe 'original' Sacher
torte.
Paper 1Reading
( So he crees into the kitchen and works
through the night. Byearly ne!t morning
he has invented a rectangular chocolate
cake made u of layers of ha)elnut
waffles, filled with chocolate cream,
encased in mar)ian and toed with
milk chocolate icing. The hotel insists
that this was the earliest four$sided cake
to be made.
% He took his chance and in his boss's
absence created a chocolate cake of such
comle!itythat all whoconsumed it were
stunned. His torte was a light chocolate
songe slit in two halves and soaked in
aricot *am before being toed with a
chocolate icing. It was served with
whied cream, as it still is today.
+ ,ow -emel have designed a new
chocolate cake, calledthe -emeltorte, for
their website, firinganother salvo in the
chocolate cake war. And these two are
not alone in the battle. They have been
&oined bytwonewrivals.
./
Test 2
Part 3
You are going to read a newspaper article about art. For questions 13-19, choose the answer (A,
B, C or D which !ou thin" #its best according to the te$t. %ar" !our answers on the separate
answer sheet.
Fake art meets real money
Christophe Petyt has turned the production i#exact copies i#masterpieces
by the world's most famous painters into big business.
Christophe &et!t is sitting in a &aris ca#e, listing the
adorn'ents o# his pri(ate art collection) se(eral *an
+oghs, and a co'prehensi(e selection o# the better
,'pressionists. -, can) he sa!s quietl!, -reall! get to
"now an! painting , li"e, and so can !ou.- .al# an hour
later , a'sitting in his o##ice with Degas- The Jockeys
on '! lap. ,# #ine art loo"s good in a galler!, belie(e
'e, it #eels e(en better in !our hands. &et!t is the
world-s leading dealer in #a"e 'asterpieces, a 'an
whose acti(ities pro(o"e both ad'iration and
e$asperation in the higher le(els o# the art world.
/a'e the painting and #or as little as 01,111 he will
deli(er !ou a cop! so well e$ecuted that e(en the
original artist 'ight ha(e been ta"en in.
&et!t-s co'pan! e'plo!s o(er eight! painters, each
steeped in the st!le o# a particular artist or school. -2e
choose the' (er! care#ull!) he sa!s. -3he!-re usuall!
people with (er! good technique but not 'uch
creati(it!, who are unli"el! to 'a"e it as artists in their
own right. But the! lo(e the great wor"s and ha(e real
insight into what-s gone into the'.- 4(er! wor" is
indi(iduall! co''issioned, using new can(ases and
traditional oil paints, be#ore being arti#iciall! aged b! a
(ariet! o# si'ple but ingenious techniques.
3he notional (alue o# the original is not the
deter'ining #actor, howe(er, when it co'es to setting
the retail (alue o# &et!t-s paintings. 3his is actuall!
lin"ed to the a'ount o# e##ort and e$pertise that has
gone into producing the cop!. An obscure 'iniature
'a! there#ore cost 'uch 'ore than a bigger, better5
"nown painting b! a grand 'aster. 3he Degas ,-'
holding loo"s as though it ca'e o## the artist-s easel
!esterda!. Be#ore being sold it has to be aged, and
this, so to spea", is the real -art- o# the cop!. A #ew
'inutes in a hot o(en can put !ears on acan(as, blac"
tea apparentl! stains it beauti#ull! and new #ra'es
can be buried underground, then spra!ed with acid.
3he (iew when &et!t started out was that (er! little
o# this could be legal. .e was pursued through the
Frenchcourts b! 'useu's and b! descendants o# the
artists, with se(eral 'a6or French art dealers cheering
#ro' the sidelines. 3his concern was perhaps
understandable in a countr! that has been roc"ed b!
nu'erous art #raud scandals. -3he establish'ent was
suspicious o# us) hu##s &et!t, -but #or the wrong
38
reasons, , thin". 7o'e people want to "eepall the best
art #or the'sel(es.- .e won the case and as the law
now stands, the wor"s and signatures o# an! artist
who has been dead #or se(ent! !ears can be #reel!
copied. 3he 'ain pro(iso is that the cop! cannot be
passedo## to dealers asthe real thing. 3o pre(ent this,
e(er! new painting is indelibl! 'ar"ed on the bac" o#
the can(as, and as an additional precaution a tin!
hidden piece o# gold lea# is wor"ed into the paint.
8ntil he started the business ten !ears ago, &et!t, a
#or'er business-school student, barel! "new one
artist #ro' another. 3hen one particular painting b!
*an +ogh caught his e!e. At 911 'illion, it was well
be!ond his reach so he ca'e up with the idea o#
getting an art-student #riend to paint hi' a cop!. ,n an
old #ra'e it loo"ed absolutel! wonder#ul, and &et!t
beganto wonder what 'ar"et there 'ight be #or it. .e
pic"ed up a co##ee-table boo" o# well-"nown paintings,
ear'ar"ed a rando' selection o# wor"s and got his
#riend to "noc" the' o##. -2ithin a #ew 'onths , had
about twent! good copies) he sa!s, -so , organised an
e$hibition. ,n two wee"s we-d sold the lot, and got
co''issions #or si$t! 'ore.- ,t beca'e clear that a
huge and lucrati(e 'ar"et e$isted #or #au$ art.
&et!t-s paintings are e$hibited awa! #ro' the
traditional art centres - in placeswith la(ish houses in
need o# equall! i'pressi(e wor"s o# art. Although
their owners include roc" stars, #ashion designers and
top businesspeople, the! either cannot a##ord or 'ore
li"el! si'pl! cannot obtain great wor"s o# art. &et!t is
understandabl! reluctant to na'e an! o# his clients,
but sa!s that so'eti'es e(en the owner o# the
original will occasionall! co''ission a cop!. -3he
best paintings are so (aluable) he e$plains, -that it-s
ris"! to ha(e the' at ho'e and the costs o# securit!
and insurance are huge. 7o so'e collectors "eep the
original in a ban" (ault and hang our cop!.-
,s it art: &et!t draws a parallel) -3a"e 'usic, #or
e$a'ple. Does Celine Dion co'pose her own tunes5
write her own l!rics: 7he-s interpreting so'eone
else-s wor", but she-s still an artist. Classical
'usicians o#ten tr! to produce a sound as close as
possible to what the! thin" the co'poser intended.
/obod!-s suggesting the!-re an!thing but artists.
2ith us, 'a!be, it-s the sa'e.-
Paper 1 Reading
13 In the first paragraph, the writer indicates that he shares
A Petyt's enjoyment of the work of a range of painters.
B the art world's suspicious attitude towards Petyt's activities.
C the general inability to distinguish copies from real paintings.
Petyt's desire to appreciate great works of art at close !uarters.
14 "hat do we learn about the painters employed by Petyt#
A $hey have been specially trained in the techni!ues of forgery.
B $hey were chosen because of the !uality of their original work.
C $hey have to be versatile in terms of the range of styles they reproduce.
$hey make copies of those paintings which customers specifically re!uest.
15 $he price of one of Petyt's paintings tends to depend on
A the status of the original artist.
B the time and skill needed to create it.
C the degree to which it has to be artificially aged.
the e%tent to which the copy truly replicates the original.
16 &ow does Petyt feel about the attempts to prove that his activities were illegal#
A &e suspects that they were not driven by public'spirited motives.
B &e accepts that they were useful in helping to establish his integrity.
C &e regrets that they gained the support of other art dealers in (rance.
&e respects the right of the real artists' families to protect their interests.
17 As a result of the court case he won, Petyt
A no longer reproduces fake signatures on paintings he sells.
B has been able to copy the work of more contemporary artists.
C is obliged to make sure his products can be identified as copies.
has agreed not to market his products through certain channels.
18 "hat do we learn about the way Petyt selected the paintings that would appear in his
e%hibition#
A $hey needed to be ones that could be reproduced !uickly.
B It was not something that he put a great deal of thought into.
C $hey had to be pictures that would appeal to the buying public.
&e did some research into the work of artists he'd always admired.
19 "hat is implied about the majority of Petyt's customers#
A $hey have little genuine interest in contemporary art.
B $hey regard works of art as a lifestyle accessory.
C $hey may buy the paintings purely as a form of financial investment.
$hey are wealthy enough to buy the original works of art if they wanted.
39
Test 2
Part 4
You are going to read an article about leisure clothes. For questions 2~, choose from the
sections (A-E). The sections may be chosen more than once.
ar! your ans"ers on the se#arate ans"er sheet.
$ote% &hen more than one ans"er is required, these may be gi'en (n any order.
&hich section mentions the follo"ing)
a creation by one com#any that "as co#ied by others
a com#any "hich decided against entering #articular
s#orting mar!ets
ne"clothes on the mar!et "hich are attracting older
customers
the "ay a com#any #romoted itself in its early days
an ad'antage that the current materials ha'e o'er those
used inthe #ast
the fact that the marine clothing mar!et is not as large as
one might e*#ect
a com#any+s #roducts being #o#ular in une*#ected mar!ets
a com#any "hich successfully e*#anded its range of
outdoor "ear
the fact that s#orting clothes ha'e become an essential
#art of the general clothing industry
a com#any "hich o#ted not to com#ete in the fashion mar!et
resistance to a change in a##roach
the !ind of information that com#anies #ro'ide for #otential
customers
40
20
,
21
,
22
,
23
,
24
,
25
,
26
, ( (
27
(
28
,
(
,
29,
( ,
30
,
(
[31J-~
,
32
, (
(
33
,
--]
,
34
, (
Paper 1 Reading
OFFSHORE VESTMENTS
Initially designedfor yachtsmen, marine clothing then unwittingly took the male fashion scene by storm.
Now this modern leisureu/ear is becoming increasinglypopular. Keith Wheatley reports.
A
When American rap scar M.e. Hammer appeared in a
video draped in a baggy, high-tech Helly Hansen sailing
jacket, he started a trend in nightclub fashion. The
singer as more likely to have stepped from a limousine
than a racing yacht !Helly Hansens ere orn by the
cres in the Whitbread "ound the World "ace# but the
nautical origin of the clothes did not deter the fans.
Across the $%, sales b e g a n to soar - but in unlikely
urban retail outlets rather than marine sales centres.
%uddenly male fashion as all at sea. &There&s an element
of fashion, especiallyith active role models, like 'ritish
solo yachtsman (ete )oss,& says %arah Woodhead, editor
of the trade fashion maga*ine Menswear. &'ut this
marine-look, high-tech clothing thing has moved from a
trend to a staple in the male clothing industry, and that&s
true right across +urope. ,t&s also bringing in a ne,
more mature, fashion customer.&
B
'rand names that ere once synonymous ith yachts
and epic voyages are no cropping up in every High
%treet. Musto, probably the biggest company in the sec-
tor, as founded some ./ years ago by 0eith Musto,
inner of a dinghy silver medal at the 1123 4lympic
)ames. The first sailing clothes ere born out of
Musto&s frustration ith the inade5uate clothing then
available. 6o the company makes clothes orth 73/
million a year. &We anted to branch out - aay from
just sailing gear, hich is a smaller business than most
people think,& e8plains Musto&s son, 6igel, no market-
ing director. &We discounted the fashion route as too
dangerous commercially for us. 0eeping people arm
and dry is hat e&re good at.& %kiing and mountaineer-
ing ere ruled out as clothes markets, either because
they ere too ell covered by competitors, or ere too
small for market groth. 'ut clothing for country pur-
suits as judged ripe for a vigorous commercial attack.
That as over a decade ago and Musto gear no domi-
nates the 'ritish e5uestrian market, from riding trousers
to fleece *ip-up jackets. &The biggest barrier e faced
as that it is an ultra-traditionalist market, here to
factors dominated,& says 6igel Musto. &9irstly, the belief
that there as nothing better than the traditional mate-
rials simply because they had been used in the family for
generations. %econdly, that the older the design of the
garment as, the more style points it scored.&
C
The key to penetrating the country clothes market as
to be the superior performance of modern fabrics: the
fact that they are &breathable& as ell as aterproof.
The basic principles of breathable fabrics have been
knon for to decades, and ere first developed by an
American company, )ore. )ore-Te8 is the best
knon of the breath abies and still the most idely
used by most manufacturers. %ome companies have
come up ith their on variants but in each case the
basic technology remains the same. The manufacturers
rejoice in providing pages of diagrams and acres of te8t
hich describe in minute detail e8actly ho each vari-
ation on the basic principle orks. &, think this is a key
point in its appeal, actually,& says %arah Woodhead.
&;ustomers can buy this stuff the ay they ould a
stereo or a car.&
o
&,f you&d asked me to years ago hether this surge of
interest in high-tech clothing as likely, ,&d have
laughed,& says Helly Hansen&s $0 managing director,
<ohn =eaver. &'ut as a society, e&ve become brand-
besotted, so hen kids decide that they ant a certain
look, they have an instinct for the most poerful brand
in that area.& Although =eaver stresses that the company
does not deliberately design clothing for the fashion
conscious, he is clearly delighted ith the additional
sales arising from his company&s strategic crossover into
the mainstream marketplace. (redictably, Helly Hansen
is no stocked by major department stores in their
trendy leisurcear sections. &,t&s provided a groth to
our business that ould never have been possible from
a very restricted marine market,& says =eaver.
E
,n 112. Henri %tr*elecki founded his company, Henri
=loyd, and the business is no one of the orld&s top
three in the sector. 9rom the outset, %tr*elecki kne
the value of publicity and did his utmost to make sure
that yachting celebrities such as %ir 9rancis ;hichester
ere alays dressed in his products. +arly on, there-
fore, Henri =loyd had a secure place in a highly spe-
cialised business. Then, in the mid-11>/s, huge orders
suddenly started pouring in from ,taly, hitherto a prof-
itable but very small part of the sailing market.
$nknon to the %tr*elecki family, a large group of
young people in Milan had adopted a fashionable &uni-
form& hich included a Henri =loyd jacket, as orn by
%ir 9rancis ;hichester, in a distinctive blue ith a red,
5uilted lining. The look spread across ,taly, and in the
Henri =loyd factory just outside Manchester, in the
north of +ngland, machinists struggled to keep pace
ith demand.
31
Test 2
Part 1
You must answer this question. Write your answer in 10!220 wor"s in an a##ro#riate sty$e.
1 You are stu"yin% at an internationa$ &o$$e%e in Ire$an". You are a mem'er o( the )o$$e%e *i$m
)$u'+ whi&h wants to attra&t new mem'ers. You "e&i"e to write an arti&$e (or the &o$$e%e
ma%a,ine a"-ertisin% the &$u'. .ther &$u' mem'ers ha-e %i-en you i"eas on what to
in&$u"e.
Rea" the in(ormation (rom the &o$$e%e *i$m )$u' we'site to%ether with notes you ma"e on
the other mem'ers/ i"eas. Then+ usin% the Intonnat$on a##ro#riate$y+ write an arti&$e (or
the &o$$e%e ma%a,ine out$inin% the &$u'/s a&ti-ities an" en&oura%in% other stu"ents to 0oin.
FlLMCLUB
College
theatre -
every Monday
Different
types of films
Discussions in
English after
every film
Details of
guest speakers
Coffee ar
open late
!r------------------"
MI!Jml1I!Jre'lda" for artlc/r.
mI!Jnt/on pnwlou" "(HIlIktlre
aI!J"crll1I!Jpian" for nmet yar
1 2ay gl'tlllt way 1#$ ma3I45nI!JwfrlI!Jna"
..+
Now write your art$&$a (or the &o$$e%e ma%a,ine+ as out$ine" a'o-e. You shou$" use your
own wor"s as (ar as #ossi'$e.
%&
Paper 2 Writing
Part 2
Choose one of the following writing tasks. Your answer should follow exactly the instructions given.
Write approximately 22~260 words.
2 You see the following announcement in an international magazine.
New TV show - Hall of Fame
We are planninga seriesof documentary programmes on famous people who have made a positive
contriution to history.
Who would you nominate from your country!
Write a proposal nominating "#$ person from your country% and explaining why this person is
important to the history of your country.
Write your proposal.
& 'n 'ustralian friend is writing a ook aout traditional festivals and customs around the
world. (he has asked you to write a contriution to this ook% giving her details aout one
festival in your country.
Your contriution should explain the origins of the festival% descrie what happens at the
festival and say why you think it is still important today.
Write your contribution to the ook.
) You see this announcement on the noticeoard of the international college where you are
studying.
~.--~------
MAGAZINES AND NEWSPAPERS IN THE COLLEGE LIRAR!
*n the lirary we would like to offer a wider rangeof reading material to students studying different
languages. +leasewrite a report for the lirary staff recommending one newspaper or magazine
that someody learningyour languagewould find *nterestingand helpful. Your report should riefly
descrioe the newspaper or magazine and explain what someody studying your languagecould
learnaout the culture of your country from reading *t.
Write your report.
( 'nswer one of the following two ,uestions ased on one of the titles elow.
"a# -ingsley 'mis. Lucky Jim
You/ve een asked to write a review of Lucky Jim for your college magazine. *n your review%
explain which character you found most likeale and why% and say whether you would
recommend Lucky Jim to other students.
Write your review.
(b) 0ohn 1risham. The Pelican Brief
Your teacher has asked you to write an essay on The Pelican Brief. *n your essay% riefly
outline the plot% explain why *t is called The Pelican Brief and say whether or not you en2oyed
the story.
Write your essa$.
43
Test 2
Part 1
For questions 1-12, read the text below and decide which answer (A, B, CorO) best fits each gap
!here is an exa"ple at the beginning (#)
$ar% &our answers on the separate answer sheet
'xa"ple(
o A inhabited B li)ed C dwelled o resided
A
-
B c *
The changing earth
Although the earth was for"ed about +,,## "illion &ears ago, hu"an beings ha)e (#) it for
less than half a "illion &ears -ithin this ti"e, population has increased hugel& and people
ha)e had a )ast (1) uponthe earth !he& ha)e long been ableto (2) the forces of nature
to use .ow, with "odern technolog&, the& ha)e the power to alter the balance of life on earth
/eports bac% fro"the first astronauts helped dispel the dangerous (0) that the world had
no boundaries and had li"itless resources (+) , ecologists ha)e shown that all for"s of life
on earth are interconnected, so it (,) that all hu"an acti)it& has an effect on the natural
en)iron"ent
1n recent &ears, people ha)e been putting the en)iron"ent under stress As a result, certain
(2) "aterials such as ti"ber, water and "inerals are beginning to (3) short 4ollution
and the (5) of waste are alread& critical issues, and the (6) of the en)iron"ent is fast
beco"ing the "ost pressing proble"(1#) us all !he wa& we respond to the challenge will
ha)e a profound effect on the earth and its life support (11)
7owe)er, despite all these threats there are (12) signs O)er the past few decades, the
growth in population has been "ore than "atched b& food production, indicating that we
should be able to feed oursel)es for so"e ti"e &et
++
1 A Imprint B Indication C impression D impact
2 A put B make C place D stand
3 A judgement B notion C reflection D concept
4 A However B Ukewlse C Moreover D Otherwise
5 A results B follows C complies D develops
6 A raw B coarse C crude D rough
7 A tum B come ego D run
8 A disposal B displacement C dismissal D disposition
9 A state B situation C case D circumstance
10 A encountering B opposing C meeting D confronting
11 A projects B sstems C methods D routines
12 A stimulating B welcoming C satisfing D reassuring
45
Test 2
Part 2
one word in each gap. here is an exa!ple at the beginning "#$.
%rite your answers &' ()*&)+ +,,-. on the separate answer sheet.
,arly photography
&n the early days of photography, a stand "#$ ..... so!e other fir! support for the ca!era was
essential. his was because photographic !aterials were "13$ ..... insensiti/e to light that a typical
exposure lasted se/eral seconds. he ca!era "10$ ..... ha/e to be held still for this ti!e in order to
obtain a sharp picture. he sub1ects also hadto be still if their i!ages "12$ ..... to register properly on
the fil!. .o!e early street scenes include blurred, transparent, ghostlike i!ages of people "13$ .....
wandered past while the scene was in the process of "17$ ..... photographed.
.tudio portraits fro! the late 14##s show people posed rigidly, often leaning against furniture,
"14$ ..... helpedthe! to re!ain !otionless. "15$ ..... it was i!portant to keep the head still, a support
was often pro/ided "2#$ ..... the neck. 6right studio lights, so!eti!es produced by
"21$ ..... fire to a strip of !agnesiu!or a s!all pile of !agnesiu! powder, helped"22$ ..... reducing
the required exposure ti!e. hese burned with an intensely blue fla!e that ga/e the necessary
a!ount of light, "23$ ..... the s!oke was unpleasant and "20$ ..... was also a risk of fire.
he proble!s associated "22$ ..... long exposure were o/erco!e by the introduction of faster, !ore
sensiti/e photographic plates, and later, roll fil!s. he de/elop!ent of s!aller ca!eras led "23$ .....
photography beco!ing a popular hobby. 'owadays, digital ca!eras ha/e further re/olutionised
photography, enabling e/en the "27$ ..... inexperienced of photographers to produce professional7
looking pictures.
46
Part 3
For questions 28-37, read the text below. Use the word given in capitals at the end of soe of the
lines to for a word that fits in the gap !n the sae line. "here is an exaple at the beginning #$%.
&rite 'our answers !( )*P!"*+ +,"",-. on the separate answer sheet.
,xaple/ $! F ! + ! ! ! 0 ! 1 !" !
"he 2edia )oentator
* live broadcast of an' public event, such as a space (0) ..... or sporting
occasion, is alost #28% ..... accopanied b' the thoughts of a
coentator. "his a' be on television, along with the relevant pictures,
or #23% ..... on radio. "he technique involved differs between the two edia,
with radio broadcasters needing to be ore explicit and #3$% ..... because
of the #34% ..... of visual inforation. "5 coentators do not need to paint a
picture for their audience6 instead their various #32% ..... should add to the
iages that are alread' there. "here will soeties be silences and pauses
in "5 coentar', although these are becoing increasingl' rare. 7oth t'pes
of coentator should tr' to be inforative, but should avoid sounding #33% ..... . 8P!(!8(
F+9
5*-!*7+,
*+",-(*",
:,.)-!7,
*7.,("
87.,-5,
!n sports coentar', #3;% ..... and ipartialit' to both sides is vital, but F*!-
spontaneit' and #3<% ..... are valued b' those watching or listening. .ports ,("1 U.,
coentators usuall' broadcast live in an essentiall' unscripted wa',
although the' a' refer to previousl' prepared aterials such as sports
statistics. 7ecause of the #3=% ..... nature of live events, thorough
preparation in advance is vital. "he internet has helpedenorousl' with
this aspect of the >ob. *n'one interested in becoing a coentator
should have excellent organisational s?ills, the willingness to wor?
#37% ..... hours and a strong voice.
P-,:!)"
-,0U+*-
47
Test 2
Part 4
For questions 38-42, think of one word only which can be used appropriately in all three sentences.
Example:
o #he committee decided to the money equally between the two charities.
$ can%t belie&e that 'ohn and (a))ie ha&e decided to up after 2! years of
marria)e.
#o ser&e a watermelon you need to it down the centre with a sharp knife.
Example: !$ * $ p $ + $ $ $ # $
,rite only the missinq word IN CAPITAL LETTERS on the separate answer sheet.
38 -ikki already had a idea of how she wanted her career to de&elop.
$t soon became that .aulawould not be able to finish the race.
#he area in front of the fire exit should be kept at all times.
3/ $t%s hard to how tall buildin)s are when you see them from the air.
$ ha&e been asked to a son)-writin) competition.
$t%s a mistake to people by appearances alone.
4! %$%&e )ot to )o now, but $%ll try to up with you later inthe park,% said 'ake.
#he or)anisers a)reed to the costs of clearin) up after the pop concert.
#he company has failed to its tar)ets for the second consecuti&e year.
48
41 'We've achieved a great deal in ashort of time,' said the company director.
Mandy liked most things about her friend's new home but thought that the dining table took
up far too much ................
'I've arranged a car parking ................... for you,' said the administrator.
42 My neighbour is ! but is still able to walk without the ................... of a stick.
"he electronic whiteboard is a wonderful new learning .................. for use inthe
classroom.
#lights carrying .................... donated by charity organisations are now arriving inthe areas
affected by drought every day.
49
Test 2
PartS
sentence, using the word given. Do not change the word given. You must use between three and
si words, including the word given. !ere is an eample "0#.
$ample%
o Fernanda refused to wear her sister&s old dress.
'()
Femanda said that her sister&s old dress.
)he gap can be filled with the words &she would not wear&, so *ou write%
$ample% 0[+!$ ,(-.D '() ,$/0
,rite the missing words 1' 2/31)/. .$))$0+ on the separate answer sheet.
43 ,e didn&t sta* long at the part* because it was ver* nois*.
SO
1f noise, we might have sta*ed longer at
the party.
44 )he number of people appl*ing for universit* grants fell last *ear.
F/..
)here number of people appl*ing for
universit* grants last *ear.
45 4r 2onrad&s son is becoming quite well 5nown as an artist.
'/4$
4r 2onrad&s son is ma5ing himself as an
artist.
50
46 Would you mind helping me carry this heavy box to the car?
GRATEFUL
This box is really heavy so I'd help me
carry it to the car.
47 'Excuse me madam, but is this your bag?' the policeman ased.
BELONG
'Excuse me madam, but ?' the policeman
ased.
48 !y the time "e got to the sale, every boo had been sold.
SINGLE
!y the time "e got to the sale, there , boo
le#t.
49 $osa#ound it very di##icult to persuade her boss to give her a pay rise.
GREAT
$osahad her boss to give her a pay rise.
%& The man claimed that he had been no"here near the #actory at the time o# the brea'in.
TO
The man claimed not near the #actory at
the time o# the brea'in.
51
Test 2
Part 1
You will hear three different extracts. For questions 1-6, choose the answer (A, B or ) which fits
best accordin! to what you hear. "here are two questions for each extract.
# $xtract %ne #
You o&erhear two friends, 'ohn and (iane, discussin! holiday plans.
1 'ohn thin)s (iane*s indecision a+out the holiday is
A unreasona+le in &iew of her financial position.
B surprisin! since her holiday is well o&erdue.
understanda+le !i&en how much money is in&ol&ed.
, -ow does (iane feel a+out the prospect of a +rea) from wor).
A ner&ous that her boss will re!ret promotin! her
B worried that staff will ta)e ad&anta!e of her a+sence
dou+tful whether she can clear her +ac)lo! of wor) in time
# $xtract "wo #
You o&erhear two friends discussin! a new film.
/ 0hy has the film +een refused a certificate allowin! it to be shown to children.
A "he soundtrac) ma)es it too fri!htenin! # n places.
B "he plot is too psycholo!ically complex.
The openin! ima!es are too &iolent.
1 The friends a!ree that the ori!inal story on which the film is +ased
A is written in a rather unusual style.
B !i&es a con&incin! portrayal of a historical character.
mana!es to )eep the reader in suspense until the end.
52
Paper 4 Listening
Extract Three
You hear an interview with the architect Ingrid Chapman, who is talking about an office building
she has recently designed.
5 What does Ingridthink is the best feature of the new building?
the amount of light that comes in
! the space she has created for staff interaction
C the way each floor has its own facilities
" What does she suggest companies with outdated office buildings should do?
employ her to design a more modem building
! ask staff what kind of workplace they would like
C use imagination to improve aspects of the offices
53
Test 2
Part 2
You will hear a guide taking a group of visitors around a museum. For questions 7-14, complete
the sentences.
MueeumTour
This museum houses objects collected by the
__E1 based in the city.
It has one of the country's best gallertes containing
r=
-~
e!hibits.
------ ----
The museum's displays of
1_
and
= "are closed to visitors at present.
The sectioncalled
#is popular with young people.
The picture galleries contain works on vartous themes by
The museum's
1_
- [ 121 needs modernising.
The guide usesthe word
[ ~3 _1to descrtbe the $utland %inosaur's effect on people.
&olystyrene was used to reconstruct most of the $utland %inosaur's
54
Paper 4 Listening
Part 3
You will hear part of a radio interview in which Harry and Jennifer, two members of an after-work
adult drama class, are asked about their reasons for attending the class. For questions !-"#,
choose the answer $%, &, ' or #( which fits best according to what you hear.
15 How does Jennifer feel about working with strangers in the class)
% resigned to the need for it
& doubtful about the value of it
' rela*ed in her attitude towards it
o e*cited at the thought of it
16 %ccording to Harry, the improvisation sessions
% require some careful preparation.
& enable him to use his imagination.
' allow himto show his acting talent.
o encourage himto relate to the group.
17 +hat does Jennifer say about improvisation)
% it is important not to make a mistake.
& ,t is necessary to be aware of the timing.
' You should be familiar with the character you invent.
o You need to be completely involved in the activity.
18 ,n Jennifer-s opinion, playing written parts will
% be less challenging than improvisation.
& include research into previous performances.
' involve guidance from an e*pert.
o lead to competition for parts.
19 Jennifer says that the drama classes have taught her how to
% improve her interaction with people.
& manage groups of people.
' develop her natural acting skills.
o be satisfied with minor achievements.
20 Harry was annoyed because the newcomer to the group
% ,nterrupted the class by arriving late.
& was reluctant to participate.
' seemed unaware of the mood of the group.
o wasted the tea break with pointless questions.
55
V,
0\
~
. . . .
N
Part 4
You will hear five short extracts in which British people are talking about living abroad.
TASK ON TASK T!O
"or #uestions $%&$'( choose fro) the list A-H each
speaker*s present occupation.
"or #uestions 26-30, choose fro) the list A-H the )ain
advantage each speaker )entions about +,ng where the- do.
While you listen you must complete both tasks.
A business person
Speaker% ~
A a beautiful language
Speaker% .
B pensioner B friendl- people
/ doctor
Speaker $ c0 1
/ luxur- acco))odation
Speaker $ c = E J
2 far)er 2 a good cli)ate
diplo)at
Speaker3 [E
interesting challenges
Speaker3 .
" student
Speaker4 .
" varied sports
Speaker4 .3
5 engineer 5 a high salar-
6 architect
Speaker S c = E J
6 excellent food
SpeakerS ~
Visual materials for the Speaking test
~YMeilie~s~usoo?
What effect might they have on people who see them]
C1
What do the wheels enable people to do?
How important may they be?
C2
How effective might these suggestions be inimproving health care?
Which two suggestions would benefit the local community most?
Phone-a-doc?
Advisory?
Seroice
o
w
$
'"
~
-
~
~
""I
t;.
1;i
b'
""I
s
('
~
~
~
~.
~
...
Why do children enjoy games like these?
What might children learn from playing them?
C4
What feelings are being expressed?
What might have made the people feel like this?
I .
. /,~
. ,
i I. I
C5
o
en
How great might the demand be for these improvements?
Which would be the most, and which the least, effective inattracting more passengers?
~
~
-
~
!i
iii
< ; ; -
" C '
" " t
s
~
~
~
ill" -
~.
~
. . .
How practical is it to store things in these ways?
How easy might it be for people to find what they are looking for?
C7
What kind of customer might they attract?
What might be the advantage of shopping in these
places?
C8
How can the weather conditions affect people's lives?
Which two kinds of weather conditions could have the most harmful effects?
C9
What aspects of the past do the photographs show?
How might the people be feeling as they look back on the past?
~ - _ y
-
C10
What might have caused these events?
How could they have been prevented?
C11
How might these activities help people escape from the pressures of everyday life?
Which two would have the most lasting benefit?
C12
Paper 5 Speaking
PAPER5 SPEAKING(15 minutes)
There aretwo examiners. One (the interlocutor) conducts the test, providing you with the
necessary materials and explaining what you have to do. The other examiner (theassessor) is
introduced to you, but then takes no further part nthe interaction.
Part 1 (! minutes)
The interlocutor first asks you and your partner a few "uestions. The interlocutor asks candidates
for some nformation about themselves, then widens the scope of the "uestions by asking about,
e.g. candidates# leisureactivities, studies, travel and daily life. $andidates are expected to
respond to the interlocutor#s "uestions, and listen to what their partner has to say.
Part 2 (a one%minute long turn for each candidate, plus !O%second response from the
second candidate)
partner has spoken.
minute. t s mportant to listen carefully to the interlocutor#s instructions. The interlocutor then
asks your partner a "uestion about your pictures and your partner responds briefly.
&ou arethen given another set of pictures to look at. &our partner talks about these pictures for
about one minute. This time the interlocutor asks you a "uestion about your partner#s pictures
Part 3 (approximately ' minutes)
nthis part of the test you and your partner are asked to talk together. The interlocutor places a
The nterlocutor explains what you haveto do.
Part 4 (approximately ' minutes)
The nterlocutor asks some further "uestions, which leadsto a more general discussion of what
you havetalked about in (art !. &ou may comment on your partner#s answers if you wish.
57
Test 3
Part 1
You are going to readthree extracts which are all concerned in some way with dance !or "uestions
1#$ choose the answer (A$ a$ % or D) which you thin& fits 'est according to the text (ar& your)
answers on the se*arate answer sheet
A choreographer's diary
Maysawthe premiere of my first full-length narrative ballet - The &llet Shoes - for the London
Children's Ballet. I haveto sayI was wondering if it was going to come off or not. In the studio
the wee! before I could seenothing e"citing - no action. #he dancing was coming along o!ay
but the children's acting seemed stiff and contrived. $ell that's one lesson I've learned - don't
worry about children performing. %r at least not until they reach a shy&aw!ward adolescence
where self-criticism overrides any fun. 'o as soon as this lot set foot on the stage the dance
floor might as well have been a trampoline. #hey were well and truly stage-struc!(umping
and whirling around li!e cra)y.
#han!s to the efforts of too-many-people-to-mention the premiere went according to
plan. I wasn't reallyable to watch it ob(ectively that night but when I came bac! to see the last
show - the seventh performance in four days I was actually smiling along with most of the
audience. I have to admit to having watery eyes and after twenty-odd *undays of losing my
voice all was forgotten and I was very proud of 'my children'+
1 +hat does the writer suggest a'out the dancers in ,he Ballet Shoes?
A ,hey were 'etter actors than dancers
a ,hey were too young to 'e sel-.conscious
% ,hey lac&ed su--icient enthusiasm -or 'allet
D ,hey learnt 'allet techni"ues ama/ingly "uic&ly
0 +hen watching the last *er-onnance o- The Ballet Shoes, the writer
A 'elie1ed her hard wor& had 'een worthwhile
2 was sur*rised 'y the reaction o- the audience
% thought that the show had got 'etter each night
D -elt relie1ed that it was all o1er
59
Test 3
Opening Night
On Tuesday I went to the opening night of
choreographer Ella Winter's new dance show.
The work was produced in collaboration with a
linguist, a landscape designer, a heart surgeon
and an architect. The score, by Antonio
Prandinl, samples Italian folk songs and their
lyrics. There Is a minimalist set white bo!es
Incorporatinga "ideo installation. And there are
Winter's eight dancers. The dance in"ol"es
mechanicallooking repeatedaction se#uences
and a running montage of mimed laughs,
whisties, hissing breaths, and twists of the feet.
At times, the dancers enact the lyrics of the
songs there are brief fragments of duet but
long sections are difficult to understand or
merely banal. $any hands, on this occasion,
had not made light work.
At times, I found myself musing on Winter's
collaborators. According to Winter, they had
gi"en her and her dancers different ob%ecti"es,
and each had brought a method of e!pression
which had not been a"ailable to the dancers
before. &odoubt, but it's hardto "iew the result,
as Winter claims, as something uni#ue in the
sphere of contemporary dance. I'"e been an
admiring spectator of Winter as both dancer
and choreographer for o"er '( years now, but I
felt subtly defeated by the show. )or me, It
seemed a pri"ate con"ersation with a like*
minded few. +ou had to be wearing "ery strong
contemporarydance goggles to make anything
of It.
' What does the wrfter say about the show in the first paragraph,
A It Is unclear which part each collaborator had contributed to.
- Too many people were in"ol"ed in the pro%ect.
. The dance mo"ements didn't match the music.
o The dancers had "ery different "iews on the roles they should play.
/ What was the writer's opinion of the show,
A It had appeal for a "ery specific audience.
- Each dancer had a uni#ue form of e!pression.
. The choreographer's long e!perience was e"ident.
o It was "ery different from other fonns of contemporary dance.
60
Paper 1 Reading
A system to notate dance
For at least five centuries attempts have been made to devise a system of notation to record the sequence
of movements in dances. Scholars believe that the ancient Egyptians made use of hieroglyphs to do this
and that the Romans employed a method of notation for formal gestures. However, the earliest known
attempt, recorded in two manuscripts preserved in the unicipal !rchives of "ervera, Spain, dates from
the second half of the fifteenth century. Since that time, many other systemshave been devised. Some were
published and achieved a measure of popularity for a while, but almost all, until the present day, fell
eventually into disuse.
#t is significant that music notation, which opened the way for development in the art of music as we
know it today, was first conceived in its modern form in the eleventh century, but was not established as
a uniform systemtill the beginning of the eighteenth. $ance notation got off to a much later start and has
undergone a long succession of false attempts. %hat so many unsuccessful beginnings were made is not
surprising. $ance is more comple& than music because it e&ists in space as well as in time and because the
body itself is capable of so many simultaneous modes of action. "onsequently, the problems of formulating
a movement notation that can be easily written and read are numerous.
5 What do we learn about systems to notate movement from the first paragraph?
A Researchers have different views about how the systems were used.
B The evidence regarding the use of early systems is unreliable.
C One system was used in more countries than the others.
o ome systems have been in use longer than others.
! Why does the writer ma"e comparisons between music notation and dance notation?
A to e#plain why music notation too" so long to develop
B to emphasise the difficulties involved in dance notation
C to illustrate the similarities between the two forms of notation
o to describe how notation has affected the development of both art forms
'1
Test 3
Part 2
You are going to read an extract from a newspaper article about coral reefs. Six paragraphs have
been removed.from the extract. Choose from the paragraphs A-G the one which fits each gap
(7-12). here !S one extra paragraph which "ou do not need to use. #ar$ "our answers on the
separate answer sheet.
Reef Encounter
Tropical fish look very colourful to our eyes, but is that how they look to each other? Our reporter Penny Gosh met the man
who may have the answer.
If you're snorkelling around a coral reef, you'll see
the local marine life in all its carnival colours. But
the show clearly isn't just a tourist attraction. For
the fish that liveon the reef, it's more a matter of life
and death. Aswith any other creature, the survival
of a fish species depends on two things food
supplies and !reeding success.
"
#eeing a coral reef in all its glory, you can't help
feelingthat fish have completely failed to solve this
dilemma. $he picture, however, only comes into
focus when you take the fish'seye view. For fish,
according to %ustin &arshall fromthe 'ision,$ouch
and (earing )esearch *entre at the +niversity of
,ueensland in Bris!ane, see things differently.
-
$his means that the carnival looks .uite different to
the marine life itself. $o help him discover e/actly
how different it looks, &arshall has designed a
uni.ue underwater 'spectrophotometer', which
analyses the colours of things o!jectively in terms of
their physical reflection. (e is also measuring the
light availa!le in different microha!itats.
0
$he general shift towards the !lue end of the
spectrum in underwater light e/plains why most
nocturnal reef fish, such as the soldierfish,
s.uirrelfish and !igeyes, are mainly red in colour.
Accordingto &arshall, some reef fish might see red,
in which case they could capitalise on the colour
!lindness of others and use red markings for private
communication. But in most cases, red species are
surprisingly inconspicuous.
62
10
Asany snorkeller will know, lots of reef fish display
the sort of colour com!inations that suggest
camouflage is the last thing on the fish's mind. $he
!right !lues and yellows that are most common,
however, are only conspicuous at a certain range.
$hey fade to grey at a distance, !ecause the colours
are so close together that they merge.
11
1ider colour !ands will !e visi!le much farther
away, of course, !ut still the fish'seye view is
different from ours. &ost recently, &arshall has
discovered that fish may see hardly any contrast
!etween the !lue of many species, such as tropical
angelfish, and the colour of the water around a
tran.uil reef. &oresurprisingly, says &arshall, a fish
with !lue and yellow stripes can !e just as well
camouflaged, as even this distinct pattern will
merge into some !ackgrounds. 1hen the fishare all
together in a shoal, it's hard for a predator to spot
where one individual starts and another ends. It's
what &arshall calls 'the 2e!ra effect'. !f &arshall is
correct, then a fish with !old !lue and yellow
markings can either advertise or hide itself!y simply
adjusting its !ehaviour.
i 12 j
In other words, one set of colours can send out very
different signals depending on the setting. $o
complicate things further, most reef fish can vary
their colours, whilst it is common for species to
change colour from night to day or as they grow
older. *olours may even change with a fish's mood3
whether it's fightingor fleeingfrom predators.
A Together with information about the visual
sensitivity of individual fish species and their
behaviour, this equipment enables himto
begin seeing things as fish do. And it is starting
to reveal how the showyand the shy can make
use of the same bright colours.
B This is because our visual system is a primate
one, he says. It's verygood at seeing yellows
and reds versus greens. However, 3metres
belowsea level there is no red light. !ofish
tend to see blues and ultraviolets well" and to
be less sensitive to reds and yellows.
# The striking bands of colour seem to shout
'come and get me' to a potential mate when
displayed against a plain background or close
up. $ut put them up against a background of
solid contrasting colours and they work on the
same principle as the disruptive camouflage
used for concealment of military equipment.
Paper 1 Reading
o The trouble is that eating and not being eaten
both need stealth. Therefore, it is helpful for a
fish to blend into the background. To attract a
mate, on the other hand, requires a certain
flamboyance.
% Ifthis means that fish reallycan't see the
difference, then it looks to himas though they
have only two types of receptors for colour.
This is a controversial claim, as others have
argued that fish have four types of colour
receptor.
& 'uring the day, such fish hide in reef crevices.
(nce there, they may look obvious to human
eyes, but to other fish, they blend into the dark
background.
) %venin fish which sport fine stripes, such as
parrotfish and wrasse, the different shades are
distinct for only one metre and certainly no
more than five.$eyond this, they too blend
into the general sea colour around the reef.
63
Test 3
Part 3
You are going to read a newspaper article. For questions 13-19, choose the answer (A, B, C or D)
which you think fits best according to the tet. !ark your answers on the separate answer sheet.
Lights, camera, action man
Traveljournalist RichardMadden reports on his first trip with a camera crew.
"t was books that first captured my imagination
about faraway places. 1V travelogues always
seemed the poor relation to the classic written
accounts, although of course the pictures were
rather better. And then there was the issue of
authenticity. All those pretentious theatrical types
dying of thirst in the desert, as i# we didn't realise
there was a camera crew on hand to cater for their
every need. hese days programme!makers know
that the audience is more sophisticated and the
presence of the camera is acknowledged. "ut can a
#ourney with filming e$uipment ever be anything
other than a cleverlyconstructed fiction%
& recently got the chance to find out, when & was
asked to present two one!hour programmes for an
adventure travel series. he pro#ect was the
brainchlld of the production company rans'
$tlantic (ilm), whichwanted the series presented by
writers and adventurers, as well as 1Vprofessionals.
!ysole $ual*ficationwas as a#ournalist specialising
in'adventure' travel. +owever, &was thought to have
'on!screen' potential.
he first programme was filmed in ,osta -ica.
%ithin./hours of myarrival, & realised that this was
going to be very different from my usual 'one man
and his laptop' e0peditions. (or a start, there were
five of us ! director, cameraman, sound recordist,
producer and presenter. And then there was the
small matter of 1122,222 worth of e$uipment. &
soon realised that the director, Peter 3acpherson,
was a vastly e0perienced adventure film!maker. "n
his case, the term 'adventure' meant precisely that.
'3ade a film with 4,' he would say (normally a
famous mountaineer or sider5, before describing a
death!defying se$uence at the top of a glacier in
Alaska or hang!gliding off the Angel (alls in
Vene6uela &nvariably, these reminiscences would
end with the words7 '+ad a great deal of respect for
4. 8ead now, sadly .. .'
Part of the brief for the series was to put the
presenter in unusual situations and see how he or
9/
she coped. :ne such se$uence was the night we
spent in the rainforest canopy near the -inc9n de la
Vie#a;ational Park in <uanacaste province. & don't
have a head for heights and would make a poor
rock!climber, so my distress is real enough as the
camera catches me dangling on a rope some 32
metres up, well short of the canopy platform.
&ronically, it was the presence of the camera,
looking down on me from above, that gave me the
impetus for the final push to the top. "ythis time,
&'d learnt how 'se$uences' were cut together and
realised that one last effort was re$uired. & had to
struggle to stay coherent while the camera
swooped withina fewmillimetres of my face for my
reaction. &n the end, it was a &agical e0perience,
heightened all the more by the sounds of the
forest ! afamilyof howler monkeys in a nearby tree,
amplified through the sound recordist's
headphones.
=earning how to establish a rapport with the
camera is 'ital and it took me a while to think of it as
a friend rather than a #udge and #ury. he most
intimidating moments were when Peter strolled up
to me, saying that the light would only be right for
another 12 minutes, and that he needed a (link(
from one se$uence to another. he brief was
simple. "tneeded to be 32seconds long, sum up my
feelings, be informative, well!structured and, most
important of all, riveting to watch. '-eady to go in
about #i'e minutes%' he would say bree6ily.
& soon discovered that the effect of the camera on
what was going on around us was far less intrusive
than & had imagined. After a first flurry of curiosity,
people usually lost interest and let us get on with
our #ob. >e were also fle0ible enough to )e
spontaneous. :ur trip coincided with an )2per cent
solar eclipse, a rare event anywhere inthe worid. >e
were in a village called ?anta @lena and captured
the whole event on camera he carnival
atmosphere was infectious and made a welcome
addition to our shooting schedule.
Paper 1 Reading
13 One thing the writer used to dislike about travel programmes on TV was
A the repetitive nature of many of them.
B the dull images that they frequently contained.
e their lack of respect for the intelligence of the viewers.
o their tendency to copy the style of famous written accounts.
14 What reason is given for the writer becoming involved in making TV travel programmes?
A other peoples belief that he might be suited to appearing on them
B his own desire to discover whether it was possible to make good ones
e his own belief that it was natural for him to move from !ournalism to TV
o a shortage of writers and adventurers willing to take part in them
15 "hortly after arriving in #osta $ica% the writer became aware that
A the director had a reputation that was undeserved.
B he would probably dislike working as part of a team rather than alone.
e he would probably get on well with the director personally.
o his role in the filming would be likely to involve real danger.
16 The writer uses the sequence filmed in the &ational 'ark as an e(ample of
A something he had been worried about before any filming started.
B the sort of challenge that presenters were intended to face in the series.
e something he was e(pected to be unable to deal with.
o the technical difficulties involved in making films in certain places.
17 What does the writer say about the last part of the sequence in the &ational 'ark?
A )t taught him a lot about the technical aspects of film*making.
B +e was encouraged to complete it when he looked up at the camera.
e )t changed his whole attitude towards doing dangerous things.
o +e was unable to say anything that made sense at this time.
18 )n paragraph si( the writer says that he found it particularly difficult to
A understand what was required of him for a link.
B change things he was going to do at very short notice.
e accept certain advice given to him about presenting a film.
o meet certain demands the director made on him.
19 What does the writer use the e(perience in "anta ,lena as an e(ample of?
A something they filmed although they had not planned to
B the friendly way in which they were treated by the local people
e something they did purely for their own en!oyment
o the kind of thing that viewers like to see in travel films
65
Test 3
Part 4
Ycu are gcing tc read an artic|e abcut mazes. Fcr questicns 20-34. chccse frcm the secticns (A-E).
The secticns may be chcsen mcre than cnce.
Vark ycur answers cn the separate answer sheet.
Which secticn menticns thefc||cwing?
a maze whcse |aycut can be varied
the fact that making eccncmies can resu|t in a maze nct being
accessib|e at a|| times
20
|
21
|
22
]
23
'
24
'
25
'
26
~|
27
'
28

29 -'
30
'
31
'
32
'
33
'
34
'
a maze which is nc |cnger unique
the pcsitive advantages cf mazes which are nct cpen tc everycne
an imprcvement tc a particu|ar design
the fact that when p|anting a maze it is easy tc exceed the crigina| estimate
the suitabi|ity cf a particu|ar ccuntry fcr cu|tivating mazes
the fact that mazes are pcint|ess in terms cf a practica| functicn
a maze which ref|ects the cwner's interests
a methcd cf finding ycur way rcund cne maze
a bcdy which |ccks dcwn cn mazes
the amcunt cf maintenance a maze requires
the appea| cf mazes tc a certain type cf mind
the fact that mazes dc nct have a c|ear path tc the centre
the fact that pecp|e have nct been put cff by disapprcva|
66
Paper 1Reading
Mazes
Thereare few rules to having your own maze, although getting the design right Is one of them.
Then sit back and wait for afew years. Rupert Wright /0S8S himse" in the thick of it all.
A
There is something
enduringly eccentric about
mazes. They serve no useful
purpose, except perhaps to
entertain guests you don't
want to see for the
afternoon. But the English
are mad about them. The
Royal orticultural !ociety
rather frowns on mazes,
regarding them as a bit of an
oddity, but this has not
deterred a nation's gardeners.
The second largest maze "n
the world is at #ongleat ouse In$iltshire% the largest
turf maze is at Saffron $alden, Essex. Adrian & ' ( .!her, the
world's leading maze daigner, is English. His firm designs
and builds more than )*+ a year worldwide, many for
private individuaIa.
B
,ne of Adrian & iaher'i "e-e"lt creations Is for banker
Lord !andberg Inthe grounds of his estate. The design
of the mare celebrates both his passion for cric.et and
his career Inban.ing. '" t/hc0b.t it would be fun,' &ay8
#ord !andberg. '1y great2great/2grandchilihen will be
able to runaround it and think of me. The only mag Is
that all the yew treeswe planted last year have died, so I
am bak to s!uare one.' Inprinciple, assuming the plants
are notdieeaaed, growing a hedge in a temperate climate
such 34England's Is at/raishtforward. "t re0uires less work
and c5 than a lawn. The hedge will need clipping 6ust
once a year. After ten years it will be a decent enough
size to get lost In.
-
,ne 1icrosoft director Is planning to build a maze Inthe
garden of his house Inthe south of "rane. Another
1icroaoft employee is starting wor. on an elaborate 4+2
metre2wide decorative pavement maze. 7erhaps there is
something particularly attractive about mazes to software
engineers% we have all experienced that moment when
we are stuc. Ina piece of software and cannot get out.
',ne of the beauties of a private maze is that you can
have all sorts of things that would not be practical Ina
public maze, where there are health and safety concerns,'
says Adrian & isher. '"n one maze, " designed a series of
angled mirrors disguised in some overh3nging arches in
order to disorientate people,' he says. #In another, a
three2metre section of hedge rotates on a turntable to
change the puzzledesign Ina fewseconds. There Is also a
unningly designed wooden
benh with hedges behind.
it the right button and thev
all roll bakwards to reveal a
hidden passageto one side.'
$
1azes have a "o8i and
distinguished history. %ing
1inos of -rete "nmucted
8aedalus tobuild a labyrinth
&,'(( yt9B"" ago. The
differene between a laby)
rinth and a maze is that a
labyrinth fol4owa one trac.
towards the middle% a maze Is fu* i of tric.ery, dead ends
and wrong turns. The most famouama+e Inthe world is
probablv the Ham,ton -ourt maze In7ng"and. There are
more than 4* o,ies of the maze througbout the world.
The original was built In4:;+. "t can be easily penetrated
by .eeping one', left hand on the wall. This works because
the hedge that surrounds the centre II continuously
connected to the perimeter hedge. #ater, mathematically
minded maze ma.ers, suh as the -arl of !tanhope, solved
this problem by creating '"slands', or gape Inthe hedges.
.singthe ampton -ourt techni0ue at !tanhope's best
example at ,levening would be polntlees. "f you .eep
your.4.eft hand on the hedge at <llevening, you end up
bei8aI,Ilt out again at the beginning.
E
There is something inherently furtive and secretive
about a maze. Adrian & isher is designing a private maze
for an individual who plans to give summer parties.
Round the first corner guests will be served drin.s, then
left to their own devices to find their way to the centre,
where a band will be playing. ,nce the party Is
assembled, various decorative maze gates will be o,ened.
The cost of building a maze is a bit li.e building a
garden/ it all depends on size and the number of plants,
and if you are not careful, the buclget continues to grow.
The cost of building hardcore paths adds considerably to
the cost, but many people don't bother, preferring 6ust to
use the mazes when the conditions underfoot are good.
,ne drawbak is the amount of time one has to wait for
the hedge to grow. alf the fun of having a maze is
watching it grow and .nowing that "t will be en6oyed for
years. 1ost people turn to an experienced designer.
!ome, though, decide to design their own mazes,
although there are pitfalls/ one man who pursued this
path watched with satisfaction as the hedge grew
beautifully, only to discover that the maze did not wor..
:=
Test 3
Part 1
You must answer this question. Write your answer in 10!220 wor"s In an a##ro#riate sty$e.
1 You are the se%retary o& the stu"ent %ommittee at an Internationa$ %o$$e'e. The Prin%i#a$ is
#$annin' an (#en )ay an" has as*e" you &or your %omments on a #ro'ramme o& e+ents.
Rea" the emai$ &rom the Prin%i#a$ below. Then, usin' the In&ormation a##ro#riate$y, write
a re#ort ma*in' re%ommen"ations an" -usti&yin' your %hoi%es.
.rom/ #rin%i#a$0%11.a%.u*
2u3-e%t/ (#en )ay
The (#en )ay must #ro+i"e #u3$i%ity &or the %o$$e'e ! an" 3e interestin'4
What "o you thin* o& these i"eas/
o#enin' s#ee%h ! me (history o& %o$$e'e) (R &ormer stu"ent (memories o&
%o$$e'e $i&e)5
%anteen o#en to the #u3$i% (R internationa$ "ishes %oo*e" 3y stu"ents5
"o you thin* it wou$" 3e a 'oo" i"ea to 'i+e "emonstration $essons5
%ou$" you su''est a suita3$e stu"ent to show +isitors roun" the %o$$e'e5
Now write your report &or the Prin%i#a$, as out$ine" a3o+e. You shou$" use your own wor"s
as &ar as #ossi3$e.
68
Paper 2 Writing
Part 2
2 You readthe following announcement In a travel magazine.
!"#I$% - I$ I &!!' !# ()' *!# Y!"# #+&I!,-
'o you thin. there should /e more or less tourism in your region-
What /enefits does the tourist industry /ring to your region-
What would /e the disadvantages of increased tourism-
Write and tell us your views. We will pu/lish the most interesting articles.
Write your article.
0 You see this announcement in an international education magazine.
BEST TEACHER COMPETITION
Everyone remembers their best teacher.
We want you to nominate one of your teacers for our Best Teacer awar!. Sen! us your com"etition
entry# te$$in% us a&out te &est teacer tat you a'e e'er a!.
(our en$$).* sou$!+
, !escn&e wat te teacer tau%t you
, e-"$ain ow tis teacer as inf$uence! your $ife
, te$$ us wy tis teacer !eser'es to win te awar!.
Write your competition entry.
1 )n intematlonal student magazine has as.ed its readers to send in a reviewof two different
we/sites that are useful for students. Write a review for the magazine in which you compare
two different we/sites2 including the following points3
4 what .ind of information each we/site contains
4 how easy each we/site is to use
4 why these sites are useful for students.
Write your re'iew.
5 )nswer one of the following two 6uestions /ased on one of the titles /elow.
7a8 9ingsley )mls3 Lucky Jim
You see this notice in an international film magazine.
We wou$! $ike you# our rea!ers# to sen! in an artic$e recommen!in% a story you tink wou$! make a %oo! fi$m an!
%i'in% reasons for your o"inions.
You decide to write an article recommending Lucky Jim.
Write your article.
7/8 :ohn &risham3 The Pelican Brief
)s part of your course2 your teacher has as.ed you to write an essay on the importance of
politics to the storyline of The Pelican Brief. !utline what part politics plays in the story and
say whether you thin. these events could happen in real life.
Write your easay.
6;
2.
Test 3
Part 1
For questions 1-12, reathe te!t "e#o$ an e%ie $hi%h ans$er (A, &, 'orO) "est (its ea%h )a*+
,here is an e!a-*#e at the "e)innin) (.)+
/ar0 1our ans$ers on the se*arate ans$er sheet+
E!a-*#e2
o A *ri-ar1 & o-inant ' #eain) o *rin%i*a#
A & c
-
3
3inosaur is%o4eries
In the #ate 153Os,a )rou* o( (.) +++++ A-eri%an s%ientists see0in) inosaur (ossi#s -ae so-e
note$orth1 (ins+ A#thou)h one o( their e!*eitions is%o4ere no (ossi#s, it nonethe#ess
(1) +++++ to "e i-*ortant in ter-s o( the in(or-ation a"out inosaurs it *ro4ie+ 3urin) that
histori% e!*eition, $hi%h too0 *#a%e a#on) the (2) +++++ o( the Pa#u!1 ri4er in ,e!as, so-ethin)
e!traorinar1 $as re4ea#e2 a inosaur tra%0, %#ear#1 (3) +++++ in the ro%0+ ,hese inosaur
(oot*rints (6) +++++ their *reser4ationto the sa#ts an -uthat %o4ere the- an then harene
into ro%0, "e(ore (7) +++++ to #i)ht 1.. -i##ion 1ears #ater+ ,ra%0s #i0ethese are (8) +++++ to e!*erts+
,here ha4e "een )reat )a*s in s%ientists9 unerstanin) o( inosaur (7) ..... , an so su%h
(oot*rints are use(u# sin%e the1 *ro4ie ire%t (:) +++++ o( ho$ inosaurs a%tua##1 -o4e+
S%ientists ha4e use these an other (oot*rints to eter-ine ho$ qui%0#1 i((erent s*e%ies
$a#0e, %on%#uin) that -an1 0ins o( inosaur -ust ha4e tra4e##e in (5) ++++++
(1.) +++++ , the tra%0s o( (our-#e))e inosaurs see- to (11) +++++ that, in s*ite o( "ein) re*ti#es,
these %reatures -ust ha4e -o4e in a 4er1 si-i#ar $a1 to #i4in) -a--a#s, su%h as e#e*hants
- a *attern o( -o4e-ent (12) +++++ (ro- that o( -ost %onte-*orar1 re*ti#es, su%h as %ro%oi#es+
,his #eas to an interestin) question+ /i)ht e!istin) -a--a#s ha4e -ore to tea%h us a"out
the e!tin%t re*ti#es that on%e $a#0e the earth;
70
1 A turned B arose C proved D occurred
2 A verges B borders C coasts D banks
3 A blatant B substantial C distinguishable D ostensible
4 A owe B derive C result D thank
5 A coming B bringing C appearing D surfacing
6 A unique B invaluable C costly D rare
7 A action B manners C behaviour D customs
8 A basis B support C source D evidence
9 A sets B herds Cmasses D bunches
10 A Appropriately B Characteristically C Interestingly D Alternatively
11 A point B specify C epress D Indicate
12 A separate B unconnected C detached D distinct
71
TBlt3
Part 2
one word In each gap. There is an exa!le at the be"innin" #$%&
'rite your answers I( )*PIT*+ +,TT,-. on the eeperata anawer sheet.
The /est /ooks
*re there 1,$$$ books that all of us should read soetie In #$% li0es1 Throu"hout this year, we
will be recoendin" a collection of books that, when taken #13% a whole, will for a library of
1,$$$ titles that will ins!ire and satisfy #12% kind of reader ia"inable& /ook lists a!!ear fro
tie to tie, often arousin" contro0ersy #1 3% bein" too elitist or too !o!ulist& /ut our list Is the
result of consultations with bookbuyers and booksellers, !eo!le #14% &&&&& know and lo0e books.
Currently, there are well #17% &&&&& a illion books In !rint& *dd #15% &&&&& these another 1$$,$$$ books
!ub*shed each year and the choice for readers becoes bewilderin", #16% &&&&& certain books, both
cIasaIcs and conte!orary works, stand out& 'hile our list doesn7t identify classics #2$% &&&&& the
traditional sense, any of the works included #21% &&&&& considered to be classic books. The list als
to make the raader aware of #22% &&&&& Is a0ailable that is stiulatin", rewardin" and Ins!irin"& #23% &&&&&
else does one learn about a 8 $6d read other #22% &&&&& by enthusiastic recoendation1
This onth we are hi"hli"htin" fifty books fro the area of business and reference& These fifty titles
re!resent the !erfect business and reference library for your needs, (2&) ..... !ersonal or
!rofessional& 9ur selection will hel! you to ex!and and enhance #25% &&&&& understandin" of t99ay7s
fast-chan"in" wor1d of business&
+ook out for next onth7s fifty choices, #27% &&&&& will take you a ste! nearer co!letion of your 1,000-
book library&
72
Part 3
For questions 28-37, read the text below. Use the word given in capitals at the end of soe of the
lines to for a word that fits in the gap !n the sae line. "here is an exaple at the beginning #$%.
&rite 'our answers !( )*P!"*+ +,"",-. on the separate answer sheet.
/olunteer Pro0ect in +esotho
+esotho is a sall #$% ..... nation in the iddle of southern *frica.
"he #28% ..... of +esotho lies ore than 1,$$$etres above sea level.
&ith its wild #22% ..... landscapes, it is a paradise for nature lovers and
outdoor #3$% ..... , and also offers the opportunit' for visitors to gain
#31% ..... experience of *frican culture. "his is particularl' true inthe rural
areas, where the distinctive and #32% ..... traditions of the countr' are still
ver' uch alive.
/olunteers are now needed for two related pro0ects for a counit'3
basedorganisation in the 4aletsun'ane gorge, a reote and
spectacular region inthe highlands of +esotho. 5ne pro0ect will
involve iproving the #33% ..... trac6 used b' both visitors and locals to
reachthe base of a waterfall in the gorge. For the second pro0ect,
volunteers are needed to #37% ..... a biodiversit' surve' of the region.
#38% ..... , uch of this area is suffering fro overgra9ing, hunting and
other activities which threaten the #3:% ..... of the land.
/olunteers will be accoodated in shared roos. "here is a counal
6itchen, and also a chance to experience the local restaurants. .pecial
dietar' #37% ..... can be provided for if advance notice is given.
;,P,(;
<!(=
.P5!+
,(">U.!*.4
P-*)"!),
)5+5U-
>*?*-;
"*<,
F5-"U(,
.U."*!(
-,@U!-,
73
Test 3
Part 4
For questions 38-42, think of one word only which can be used appropriately inall three sentences.
Example:
o #he committee decided to the money equally between the two charities.
$ can%t belie&ethat 'ohn and (a))ieha&edecidedto upafter 2*years of marria)e.
#o ser&e a watermelon you need to it down the centre with a sharp knife.
Example: *$ + $ p $ , $ $ $ # $
-rite only the missin) word IN CAPITAL LETTERS on the separate answer sheet.
38 #he new law meansthat the tax system will in a different way from now on.
.eforeyou this machinery, make sure you are wearin) the appropriate
safety )ear.
#he sur)eon decided not to as he felt that the patient%s condition would
impro&e without sur)ery.
39 %$ think this would be a )ood at which to take a break,% said the tour )uide.
/&eryonea)reed with 'anine%s that the accounts could ha&e beenfalsified.
#he students felt discoura)ed because what they were doin) didn%t seemto ha&e
any .
4* 0tella bou)ht the for her new li&in)-room curtains in the market and made
them up herself.
'ake is )oin) to $taly to )et for his new historical no&el, which will be set in
1ncient 2ome.
1 waterproof such as plastic or )lass should be used to co&er the top of
the box.
74
41 The group a new album last month.
The engineer the safety catch carefully and then started the machine.
Last year the factory five per cent more toxic fumes into the atmosphere.
42 I think that your brother will an excellent doctor when he qualifies.
I am afraid I can't the meeting on Saturday because I'm busy.
What do you of the new manager inthe production department
75
Test 3
PartS
For questions 43-50. complete the second sentence so that it has a similar meaning to the first
sentence. usingthe word given. Do not change the word given. You must use between three and
six words. including the word given. Here is an example (0).
Example:
o Fernanda refused to wear her sister's old dress.
NOT
Fernanda said that her sister's old dress.
The gap can be filled with the words 'she would not wear'. so ou write!
Example: 01"H# $%&'( )%T $#*+
$rite the missing words IN CAPITAL LETTES on the separate answer sheet.
,- .t is essential that this door is /ept unloc/ed.
S!O"LD
%n no loc/ed.
,, .t seems unbelievable that this 0eweller is almost a thousand ears old when it is so well
preserved.
!AD
This 0eweller is in such good believethat it is
almost a thousand ears old.
,1 $hen it comes to punctualit. Fiona reallta/es after her mother.
CONCENED
As .................................................................... Fiona reallta/es after her mother.
23
46 You haveto be very patient to work as a primary school teacher these days.
DEAL
Working as a primary school teacher calls these
days.
47 He didn't understand exactly what was wrong until he read Julie's letter.
ONLY
It he read Julie's letter that he understood exactly
what was wrong.
48 one o! the other team members supported "erry's idea.
SUPPORT
"erry's idea met with the other members o! the
team.
4# "he region is rich in natural resources.
OFFER
"he region has a lot terms o! natural resources.
$% &ecause o! Its price' the book may never become a bestseller.
PREVENT
"he price o! the book may a bestseller.
77
Test 3
Part 1
You will hear three different extracts. For questions 1~, choose the answer (A, B or ) which fits
!est accordin" to what you hear. #here are two questions for each extract.
$ %xtract &ne $
You hear two collea"ues, %'a and olin, tal(in" a!out a pro!lem at wor(.
1 )hat is olin*s opinion of their new !oss+
A ,he fails to consult with collea"ues.
B ,he is too (een to esta!lish newwor(in" practices.
,he has little understandin" of the or"anisation*s history.
- )hen tal(in" a!out the pro!lem, %'a is
A tryin" to su""est that it is unimportant.
B comparin" alternati'e ways of sol'in" it.
encoura"in" olin to ta(e a more positi'e attitude to it.
%xtract #wo $
You hear an inter'iew with an expert who repairs antique 'ases.
3 )hat is the expert doin" at the start of the inter'iew+
A explainin" what can ruin a restoration .o!
B comparin" 'arious methods of restoration she uses
descri!in" the difficulties of matchin" colours durin" restoration
/ 0ow does the expert feel a!out lea'in" 'isi!le crac(s in the finished 'ase+
A #hey should be a'oided if at all possi!le.
B #hey are part of the 'ase*s history and should !e seen.
#hey affect the 'alue of the 'ase rather than its appearance.
78
Paper 4 Listening
[ _ E x t ~ Three J
On the radio, you hear a visitor talking to a man about the remote island where he lives.
5 The man wants a ferry service between the mainland and the island because
A he is keen to develop tourism on the Island.
B he thinks more young people would come to live on the island.
he feels the island people should not be isolated from modem life.
! The speakers have different opinions about whether
A creating an airport would be advantageous.
B building houses on the beach would be advisable.
commercial development would spoil the island"s uni#ue nature.
79
Test 3
Part 2
You will hear a short radio report about how technology is helping archaeologists who want to learn
more about some texts written over 2,000 years ago known as Roman tablets. For questions 7-14,
complete the sentences.
ROMAN TABLETS
The speaker says that an ncient Roman !table" was about as thick as a present#day
7
t the site o" an old
' ------ --' -_ 8 _ _ _ J I , archaeologists discovered about 200 tablets.
Roman soldiers o"ten used tablets when writing letters or documents o" a
$ % $ L --9 _ _ _ J 1 nature.
&n one tablet mentioned, the word L _ [ ,% ' % ' 0####!( ( )legible as well as
people!s names.
n expert ( n wha"s called
' ' 1 says that the pro*ect is very challenging.
% ##!###
+anels on the tablets were once "illed with
!###### ##!#% ' 2% ' , which provided the writing sur"ace.
,""orts to analyse the original texts using
' - ' photography were unsuccess"ul.
_-----~~~
.ew technology is also being applied to other historical texts which were written using
8 0
Paper 4 Listening
Part 3
You will hear an interview with an architect called Lucy Collett who designs small buildings. For
questions 1~20, choose the answer !, ", e or #$ which %its best according to what you hear.
15 Lucy en&oyed building the tree'house because it
! gave her children somewhere to (lay.
" (resented an interesting design (roblem.
e demonstrated the ty(e o% wor) she does.
# allowed her to %ul%il a childhood ambition.
16 *hat %ascinated Lucy about the historical (hone bo+es,
! their intemational character
" their lu+urious interiors
e their range o% styles
# the quality o% their construction
17 !t college, Lucy designed small buildings so that they
! could be assembled in a shorter time.
" would com(ly better with sa%ety rules.
e would have a wider range o% uses.
# could be built in a sim(ler style.
18 Lucy got the idea %or a %olding mar)et stall
! %rom her (arents.
" %rom travelling salesmen.
e while she was at a trade %air.
# while she was on an overseas tri(.
19 *hat did Lucy li)e best about her award'winning design,
! the sha(e
" the dis(lay s(ace
e the decoration
# the building material
20 -he hotel (hone booths which Lucy wor)ed on were
! develo(ed with mobile (hone users in mind.
" designed %or countries with relatively %ew mobile (hones.
e (laced at the entrance to the hotel lobby.
# intended to be the largest %eature o% the lobby.
81
00
N
~
. . . .
1 . . . 1
Part 4
You will hear five short extracts in which people are talking about problems related to their work.
TASK N! TASK T"
#or $uestions 21 -25, choose from the list A-H the problem #or $uestions %&'(0) choose from the list A-H each person*s
each person encounters. current feeling.
While you listen you must complete both tasks.
A a troublesome client
Speaker+ ,a
A keen to bring in changes
Speaker+ CB
L__
- poor pa. and conditions - willing to accept their situation
/ a difficult colleague Speaker% *''''' 00 +%% 1 / sure that things will improve
Speaker% ~
o conflict with management
Speaker( /!
o reluctant to make a complaint
Speaker( ~
! a failed pro2ect ! anno.ed b. messages from colleagues
# excessive responsibilit.
Speaker3 1 -r%3 1
# aware of their own failings
Speaker3 4!5
6 a lack of promotion 6 miserable in their present 2ob
*')'~
Speaker7 8%
9 an inefficient 1 T s.stem
Speaker7 ~ 00 ~
9 unsure what to do about the problem
Paper 5 Speaking
There are two examiners. One (the Inter1ocutor) conducts the test, providing you with the
necessary materials and explaining what you have to do. The other examiner (the assessor) Is
Introduced to you, but then takes no further part In the Interaction.
Part 1 (3 minutes)
The Interlocutor first ass you and your partner a few !uestions. The interlocutor askscandidates
for some information about themselves, then widens the scope of the !uestions by asldng about,
e.g. candidates" leisure activities, studies, travel and dally life. #andidates are expected to
respond to the Interlocutor"s !uestions, and listen to what their partner has to say.
Part 2 (a one$minute "long tum" for each candidate, plus 3%$secondresponse from the
second candidate)
&ou are each given the opportunity to tal for about a minute, and to comment briefly after your
partner has spoen.
The Interlocutor gives you a set of pictures and ass you to, talk about them for about one
minute. It Is important to listen carefully to the interlocutor"s Instructions. The interlocutor then
asksyour partner a !uestion about your pictures and your partner responds briefly.
&ou are then given another set of pictures to loo at. &our partner tals about these pictures for
about one minute. This time the interlocutor ass you a !uestion about your partner"s pictures
'art 3 (approximately ( minutes)
In this part of the test you and your partner are ased to tal together. The interlocutor places a
The Intertocutor explains what you have to do.
The Interfocutor askssome further !uestions, which leads to a more general discussion of what
you have taled about In 'art 3. &ou may comment on your partner"s answers If you wish.
83
Test 4
Part 1
You are going to read three extracts which are all concerned in some way with eole li!ing
together" #or $uestions 1%&' choose the answer (A' (' ) or *) which you thin+ ,its -est according
to the text" .ar+ your answers on the searate answer sheet"
WRITING MY FAMILYMEMOIRS
One problem when writing famil hi!torie! i!
"nowing how to !how people what o#r famil i!
li"e$ Re%or&ing their re%olle%tion! i! the be!t
metho&' b#t thi! i! &iffi%#lt if' li"e m famil' the
%omm#ni%ate %hiefl thro#gh !hr#g! an& rai!e&
eebrow!$ At one point I tho#ght I ha& !o little
material I(& ha)e to gi)e #p altogether' b#t then
it &awne& on me * m famil ma be an e+treme
%a!e' b#t thi! i! tr#e to a %ertain e+tent of all
familie!$ ,eing !o familiar with ea%h other' we
ha& learnt to rea& ea%h other(! fa%ial e+pre!!ion!
li"e meteorologi!t! rea&ing a !"$
One of m mo!t potent teenage memorie! isof
ta"ing %harge of !ome !i%" %hi%"en! on o#r
famll farm$ I b#ilt them a !pe%ial pen' an& !pent
m !pare time fee&ing them$ When I tol& m &a&
the ha& all &ie&' I reali!e& he ha& "nown thi!
wo#l& happen' an& that he wo#l& not ha)e let m
brother' a trainee farmer' per!i!t in !#%h a
!entimental ill#!ion$ In !hort' it meant that
e)erone ha& reali!e& before I &i& that I(& ne)er
ma"e a farmer$ -i& m brother' father or mother
remember the %hi%"en! a! a ma.or t#rning/
point' too0 No1 the &i& not remember them at
all" The onl per!on who &i& wa! m !i!ter$ She
ha& helpe& me with them her!elf*onl for me' in
m !elf*ab!orption' to !#b!e2#entl forget abo#t
her$ I !oon reali!e& how !eparate we all are' an&
that o# %an onl e)er tell o#r own !tor$
1 In the ,irst aragrah' what does the writer say haened during the course o, his research/
A 0e learnt to understand his own ,amily1s manner o, communication"
( 0e realised his ,amily was not !ery di,,erent ,rom other ,amilies"
) 0e ,ound a way o, resenting his ,amily to the reading u-lic"
o 0e changed his oinion o, the relationshis within his ,amily"
2 3hat is the writer1s urose in recounting the eisode a-out the chic+ens/
A to highlight the di,,erences in ersonality -etween the mem-ers o, his ,amily
( to emha4isehow attitudes to eole and e!ents can change o!er time
) to underline the need to achie!e a -alanced !iew o, a ast occurrence
o to demonstrate the su-5ecti!e nature o, eole1s memories
34
Test 4
living on a commune
Communes have existed since history was first recorded. I grew up on one in the late
1960s, when more than 2,000were formed in the !" #owever, I was never sure what
exactly a commune was defined as$ only what it was li%e to live on one. &hen I left the
commune at twelve years old, I was astounded to encounter almost entirely negative
views of communes from people In 'mainstream' society.
(here are two main types of communes. In the 'anarchistic commune' there is an
agreement to re)ect esta*lishment and organi+ational worlds. sually anyone is
welcome, mem*ers are temporary, and there are no rules. (his type of commune
usually doesn't last long. ,or example, the -regon ,arm, . small and short/lived rural
commune, emphasi+ed individualism so much so that there were no real guidelines for
living / no norms for mem*ership, *ehaviour or meal times. 0em*ers were transient
and there were many arguments a*out who got what and why, and a*out wor%. ,or
example, the women felt it was unfair that they had all the housewor% and chlldcare
responsi*ilities while the men wor%ed in the fields.
(he second type Is the 'service commune', Inwhich people pool resources and agreeto
live a certain way with a motivating philosophy. 0em*ership is more closed, residents
must commit to the commune's purpose. (his type is socially organi+ed with leaders
and rules. sually this type of commune has a sense of purpose that *inds the people
within the commune together toward a common goal.
3 What does the writer Imply about communes in the first paragraph?
A They are better than life in mainstream society.
B They are generally misunderstood.
C They are ideal places for children.
o They are of very little value.
4 What is the main difference the writer identifies between anarchistic and service
communes?
A the people who !oin the commune
B the division of wor" on the commune
C the reason for setting up the commune
o the areas of conflict within the commune
16
Paper 1Reading
Interviewing Londoners
A common ingredient in all the memories which people shared with me,
as they looked back and thought about how they remembered their lives
in a poor district of London in the 1930s and 4Os,was a real sense of loss
for the time when we were all one! A time when you knew all your
neighbours" when you sat outside the front door of your house on a
kitchen chair during long summer nights chatting and when you helped
each other ifyou had problems, without a second thought! And yet this
affection is probably the result of hindsight! #hen families were living in
such close pro$imity there could have been little opportunity for peace and
%uiet and even less for privacy!
A striking e$ample of how things have changed in our perception of what
we might e$pect from our local community was seen in the response to
my %uestions about the problems of organising childcare! #omen either
needed me to e$plain what & was talking about or they laughed' what need
was there for such formalised arrangements when you were part of a large
whole which looked out for one another, regardless of whether they were
family, friends or simply your ne$t(door neighbour) &t wasnt an issue! &f a
woman worked, and many did ( had to ( there was always someone to
keep an eye out for the kids! *hats the way it worked,
5 In the first paragraph, the writer suggests that the people he interviewed
A were bewildered by the changes in their lives.
B were disillusioned by family life.
C were objective in their view of the past.
D were influenced by a sense of nostalgia.
6 hat does the writer imply by saying that the women laughed!
A "hey wished that modem arrangements had been available in the #$%&'.
B "hey identified with the writer(s difficulties in finding childcare.
C "hey recognised that childcare was a common problem nowadays.
D "hey thought that childcare hadn(t needed to be organised in the #$%&'.
!!
+,
Test 4
Part 2
You are going to read a newspaper article about a sport Six paragraphs have been removed from
the article. Choose from the paragraphs ~ the one which fits each gap (7-12). here Is one e!tra
paragraph which "ou do not need to use. MaJ1( "our anawers on the ........ answer 8heet.
Ater the Frisbee
I t used to be as simple a s a bit o ti m in the par i< . !ow the Fr isbee is bac# . - and this time it's
seri ous busi ness. Si m on de Burton rep orts.
"ntil recentl#$ the name %&ucci% was s#non#mous
with e!pensive handbags and 'eweller#. $ow
however$ the compan#%s %&(orce% slogan has ta)en
on a whole new meaning$ with the introduction o
the &ucci *l#ing +isc$ a 2,(centimet-re diameter
circle. o semi(laccid rubber that retails at a smooth
./0. 1his piece o fl"ing un has literall# ta)en o$
leaving &ucci%s main stores with a waiting list o
customers that grows longer b" the da#.
1-7 %
l2-
1he dli-rence now isthat fl"ing discs are no longer
the exdualve domain of college students. *risbee3
t&owmg baa dcwdoped intoarange of serious sub-
1p+ItI$ rom a team game called "ltimate to the
unli)e1#(aounding disc golf' with distance$
accurac#$ discathon and reest#le *risbee falling in
between.
4821
Assistant librarian and disc(throwing anatic$ (rian
+acourt ma# not 5uite it in with the trend in this
respect. 6e is$ however$ chair o the 7orld *l#ing
+isc *ederation and established the irst "ltimate
world championships in 1889 when 'ust six teams
too) part. 1his #ear there were more than 1::. %It
has become a sport pla#ed predominantl# b#
proessional people$% he sa#s. )*fter graduating$
the# have progressed up the career ladder % nto
powerul 'obs before retwning to disc sports much
more seriousl" % n their free time.%
%
I; 8;
1he team version o *risbee(throwing$ the game o
"ltimate$ is currentl# en'o#ed b# around <::
serious pla#ers in the +,. 1eams are made up o
88
seven pla#ers$ and the aim o the game is to score
goals b# pa=ng the disc>- to a pla#er standing or
running inside the opposition%s )end ?one%.
11:
-
=ut "ltimate%s rules do not seem to give rise to the
dissension$ ouls and gamesmanship that some$
more prestigious$ sports suer rom. * )e#
"ltimate phrase is %the spirit o the game%$ which
reers to the sport%s basic code o conduct. @ven at
world championship level$ reerees or linesmen are
not n e e d e d .
r 11(1
. /
1he names o *risbee(related sports are a little
more acceanble. *n individual version o *risbee3
throwing )nown as %disc gol has also grown up$
courtes" o inancial expert +ere) Aobins. Aobina$
Chairman o the (ritish +isc &ol Association$
charges 'ust ./ for a round at his course beside the
Aiver Avon.
1hereore$ when pla#ers reach the spot on the
course where their last throw has landed$ the# can
choose a disc which is the most appropriate one for
the next throw - inmuch the same wa# that golers
might use a driver rom the tee ( with the aim o
%holing out% the disc$ into an iron bas)et held up b"
a chain$ in the minimum number o throws.
It is all a ar cr# rom the earl# da#so the *riJbee
in the 18<:s$ when 7illiam Aussell *risbie
patented his *risbie pies$ in the disc(shaped tins
that college students so delighted in throwing to
each other$ ater eating the pies.
A In keeping with this air of gentlemanly
camaraderie and enthusiastic innovation, a
whole new language has evolved among the
game's devotees. Words such as 'force',
'hammer', 'poach', and 'stall' are used to
describe the various moves, throws and tactics
which the game demands.
B Even a top-dass competitor in several of these
disciplines would not have to fork out much
on equipment compared to other sports.
owever, the relative cheapness is somewhat
at odds with the nature of its devotees! more
and more it tends to be high-earning lawyers,
stockbrokers, bankers and I" professionals
who make up the core of serious players.
# $nce in possession of the disc, a player is not
allowed to run with it% it has to be worked up
the pitch through a series of tactical passes. If
it touches the ground or is intercepted,
possession passes to the opposition.
o "he popularity of this particular brand of disc
bears testament to the fact that the fun-filled
summers of the &'()*,when +risbees in parks
were a common sight, are en,oying something
ofareviva-
Paper & Reading
E .ut ifall this sounds a little tooenergetic, and
you are happy ,ust to chuck a +risbee to a
friend in the park, you will be in good
company. $ld-style +risbee fans can still
count among their numbers several famous
names, including a leading ollywood movie
star and a +ormula $ne driver.
+ "he rules are similar to those of the famous
sport from which it is derived, the obvious
difference being the use of flyingdiscs instead
of balls and clubs. /layers walk the course
with a range of five or more special discs
which have special edges and are made of
denser material than an 0ltimate disc, thus
allowing them to flyfurther.
1 Indeed, the sport very much reflects the
lifestyles of the people who play it. It is all
about working together with one's side against
the opposition% competitiveness and
camaraderie are of the utmost importance.
*'
Test 4
Part 3
You are going to read a newspaper article. For questions 1~19, choose the answer (A, e, Cor 0)
which you thin fits !est according to the text. "ar your answers on the separate answer sheet.
Travelling sensitively
A tour operator which specialises in environmentally sensitive holidays h a s banned
the use of all cameras. Is t h i s the future of tourism? asks Mark Hodson.
The days of the camera-toting tourist may be numbered.
Insensitive travellers are being ordered to stop pointing
their cameras and camcorders at reluctant local
residents. Tour companies selling expensive trips to
remote comers of the world, off the well-trodden path of
the average tourist, have become increasingly irritated
at the sight of visitors upsetting locals. ow one such .
operator plans to ban clients from talcing any
photographic e!uipment on holidays. "ulian #atthews
is the director of Discooery lnitiati!.leS, a company that is
wor$ing hand-in-hand with other organisations to offer
holidays combining high adventure with wor$ing on
environmental pro%ects. &is trips are not cheap' two
wee$s of white-water rafting and monitoring wildlife in
(anada cost several thousand pounds.
#atthews sayshe isproviding )holidays without guilt) ,
insisting that #iscooery lnitiati*.le+ is not a tour operator
but an environmental support company. (lients are
referred to as )participants) or )ambassadors). ),e see
ourselves as the next step on from eco$touris%, which is
merely a passive form o& sensitive travel - our approach
is more proactive.)
&owever, says #atthews, there is a price to pay. )I am
planning to introduce tours with a total ban on cameras
and camcorders because of the damage they do to our
relationships with local people. I have seen some
horrendous things, such as a group of six tourists arriving
at a remote village in the +outh American %ungle, each
with a video camera attached to their face. That sort of
thing tears me up inside. ,ould you li$e somebody to
come into your home and ta$e a photo of you coo$ing?
A camera is li$e a weapon' it puts up a barrier and you
lose all the communication that comes through body
language, which effectively means that the host
communities are denied access to the so-called cr-++.
cultural exchange.)
#atthews started organising environmental holidays
afrer %oining a scientific expedition for young people. &e
subse!uently founded Discooery Epeditions, which has
helped support /3pro%ects worldwide. ,ith the launch
of Discooery lnitiau*.le+, he is placing a greater emphasis
90
on adventure and fun, omitting in the brochure all
references to scientific research. 0ut his rules o& conduct
are strict. )In some partso& the world, for instance, I tell
people they should wear long trousers, not shorts, and
wear a tie when eating out. It may 12llllddictatorial, but
I find one has a better experience if one is well dressed.
I don)t understand why people dress down when they go
to other countries.)
#atthews) views reflect a growingunease among some
tour companies at the increasingly cavalier behaviour of
well-heeled tourists. (hris Parrott, o& "aumey La t i n
America, says3 ),e tell our clients that indigenous
people are ofren shy about being photographed, but we
certainly don)t tell them not to ta$e a camera. If they
tae pictures without as$ing, they may find themselves
having tomatoes thrown at them.) &e also reports that
increasing numbers of clients are ta'cingcamcorders and
pointing them indiscriminately at locals. &e says3
)People with camcorders tend to be more intrusive than
those with cameras, but there is a payoff - the people
they are filming get a tremendous thrill from seeing
themselves played bac$ on the viewfinder.)
(rispin "ones, of 4xodus,the overland truc$ specialist,
says3 ),e don)t have a policy but, should cameras cause
offence, our tour leaders will ma$e it !uite dear that
they cannot be used. (lients tend to do what they are
told.)
Ea rt h wa t ch ,which pioneered the concept o& proactive
eco-tourism !y sending paying volunteers to wor$ on
scientific pro%ects around the world, does not ban
cameras, but operates strict rules on their use. 4d
,ilson, the mar$eting director of the company, says3
),e try to impress on people the common courtesy of
getting permission before using their cameras, and one
would hope that every tour operator would do the same.
People have to be not only environmentally aware but
also culturally aware. +ome people use the camera as a
barrier' it allows them to distance themselves from the
reality of what they see. I would li$e to see tourists
putting their cameras away for once, rather than trying
to record everything they see.)
Paper 1Reading
13 In the first paragraph we learn that Discovery Initiatives
A offers trips that no other tour company offers.
B organises trips to places where few tourists go.
C has decided to respond to Its customers' complaints.
D has already succeeded In changing the kind of tourist It attracts.
14 Julian atthews thinks that the function of the company Is to
A get people in!ol!ed in en!ironmental work.
B influence the way other tour companies operate.
C Inform holidaymakers a"out en!ironmental damage.
D co#operate with foreign go!ernments to promote eco#tourism.
1$ %hat does atthews say In the third paragraph a"out cameras and camcorders&
A 'hey gi!e local people a false Impression of holidaymakers.
B 'hey discourage holidaymakers from intruding on local people.
C 'hey pre!ent local people from learning a"out other societies.
D 'hey encourage holidaymakers to "eha!e unpredicta"ly.
1( %hat Is atthews keen for clients to realise&
A that certain "eha!iour may spoil their en)oyment of a trip
B that they may find certain local customs rather surprising
C that It Is likely that they will not "e allowed in certain places
D that the "rochure does not contain all the Information they need
1* %hich of the following does Chris +arrott "elie!e&
A 'ourists are unlikely to agree to tra!el without their cameras.
B Local people may react angrily towards tourists who use cameras.
C 'ourists are becoming more sensiti!e a"out their use of cameras.
D Camcorders always cause more trou"le with local people than cameras.
1( Crispin Jones says that his company
A e,pects its staff to pre!ent pro"lems o!er the use of cameras.
B seldom encounters pro"lems regarding the use of cameras.
C Is going to decide on a firm policy regarding the use of cameras.
D ad!ises clients a"out the use of cameras "efore they lea!e.
1- %hich of the following best summarises the !iew of Earthwatcffl
A 'oo many tour operators ignore the pro"lems caused "y cameras.
B ost tourists realise when they ha!e caused offence to local people.
C 'here are more pro"lems concerning the use of cameras these days.
D Cameras ena"le people to "e detached from places they !isit.
91
Test 4
Part 4
Ycu are gcing tc read an artic|e abcut cver-ccnsumpticn. Fcr questicns 20-34, chccse frcm the
secticns (A-D). The secticns may be chcsen mcre than cnce.
Vark ycur answers cn the separate answer sheet.
Which secticn menticns the fc||cwing?
the impact cn pecp|e cf crganisaticns seeking greater effiCiency
an exp|anaticn cf why happiness is a|ways cut cf reach
the fact that pecp|e's attitudes tcwards certain gccds have changed
cvertime
data that has revea|ed a surprising |ack cf ccrre|aticn
a |ack cf evidence that pecp|e tcday are mcre ccntent than they used tc be
the abi|ity cf the market tc meet pecp|e's desire tc acquire mcre gccds
thcse aspects cf |ife which are neg|ected in the pursuit cf aff|uence
the fee|ing that many pecp|e have cf being unab|e tc escape the demands
cf a grcwth eccncmy
the ccuntries where it is accepted that pecp|e's happiness is re|iant cn them
having ever-increasing |eve|s cf materia| wea|th
the writer's acceptance that there may be scmething beneficia| in the wide
avai|abi|ity cf certain prcducts
research that shcws the rc|e cf certain preccncepticns in determining
pecp|e's respcnses
the eccncmic damage that wcu|d cccur if pecp|e stcpped aspiring tc higher
|eve|s cf materia| wea|th
the extent tc which maintaining a grcwth eccncmy requires pecp|e tc put
impcrtant areas cf their |ives at risk
the suggesticn that pecp|e are primari|y mctivated by the need tc earn
sufficient mcney tc |ive cn
the way in which business practices can manipu|ate pecp|e's percepticns
cf what they need
92
20
21
22
23
24
25
26
27
28
291
133
134
Paper 1 Reading
Over-consumption
Paul Wachtel asks why economic growth does not automatically
lead to an increased sense of well-being.
A
Ina host of different ways. the economies of the highly
Industrialisednations of the world have long operated
on the assumption that a senseof well-being depends
crucially both on the quantity of goods and services
available to the population and on the rate at which
that quantity Isgrowing. It Iseasy to understand how
such a misconception could hold sway. And yet. there
Is little Indication that people's lives are fuller or
happier than those of our parents' or grandparents'
generation, who had much 'less'.
Why isIt that growth has yielded so little Inenduring
satisfaction? Why do people fall to derive any pleasure
fromtheir standard of living when. Infact. they have so
much more than the previousgeneration? Toeplicate
fully the Ironiesand psychological contradictions of the
emphasis on economic growth would require
considerably more space than isavailable here. but to
begin with, it must be noted that the entire dynamic of
the growth-!riented economies that eist In
Industrialisedcountriesabsolutely require dissatisfaction.
If people begin to be satisfiedwith what they have, If
they cease to organise their lives around having stili
more, the economy IsIndanger of grinding to a halt.
B
The tendency to over-consume results, In part, from
advertising. Thevery purpose of modem advertising Isto
generate desires"If an ad can ma#e you feel your life Is
not complete without product X . It has done Its$ob. %ut
ads are not the onlysource of thisphenomenon. &ociety
as a whole Isstructured to lead people to define their
aspirations Interms of products, and new products are
constantly being brought out. 'oreover, thistendency
Is eacerbated considerably by another set of
psychological factors. A variety of studies have
demonstrated that $udgements about an eperience
are shaped very largely by a person' s level of
epectation. In a growth-oriented &!(iety.people's
epectations are continually being raised, and sotheir
adaptation level - the level against which they
compare new eperiences - #eeps rising.!nly what Is
above the new standard ever gets noticed. &atisfaction
becomes li#e the hori)on" It loo#s a clear and finite
distance away and potentially attainable. %ut as you
approach It. it continually recedes, and after much
effort you are no closerthan youwere when you began.
(
*eople's epectations being too high Isnot the only
reason for the ambiguous relationship between
material goods and a senseof well-being. 'any of the
ways we gear up for growth actually undermine some
of the more fundamental sources of satisfaction and
well-being, leaving us feeling more Insecure and less
satisfied than we were before. A number of ma$or
studiesInto sourcesof happiness concluded that once
some minimal Income Is attained, the amount of
money people have matters little In terms of bringing
happiness. In other words, above the poverty level.
the relationship between Income and happiness is
remar#ably small. What does matter, these studies
Indicate, are things li#e love, friendship, being part of
a community, being committed to or part of
something larger than oneself. %ut It Isprecisely these
things that a way of life organised around growth and
mar#et transactions Impairs. The epectations,
assumptions, and arrangements by which people In
the Industrialised world live, lead them to sacrifice a
great deal. both Individually and collectively, for the
sa#e of perpetuating the economic system.
D
+owadays. we wor# too hard as we strive to be able
to afford the larger and larger pac#age that defines a
standard way of life and we ma#e our wor#ing lives
lesspleasant as we, &!(ietally,forget that the wor#ers
from whom we etract greater productivity are
ourselves. and as more people feel the Insecurity of
corporate efforts to become 'lean and mean'. And all
too often, people attribute all the hours of wor# not
even to the wishto 'ma#e It', but simplyto the fact that
they must 'ma#e ends meet'. ,or most people Inthe
West. there Issimply the eperience of having to #eep
up with the treadmill. -et what figures comparing
present purchasing power with those prevailing Inthe
./010 and ./21s 3an earlier time of perceived
prosperity4 show. Isthat the definition of 'ma#ing ends
meet' #eeps changing. What not too long ago would
have defined an upper-mlddle-class standard of I'ng
now feels to most people as '$ust ma#ing ends meet'.
The dishwasher. television set and so forth that once
were signsof luuriousliving are now perceived to be
necessities. *erhaps this Is a sign of progress and
certainly there Issomething salutary about the fact
that we no longer regard as luuries such Items as
running water. %ut as the definition of necessity #eeps
evo'ng. we need to bear two things Inmind5 that the
senseof well-being does not Increase Inthe same way
and that the earth Isgroaning under the strain.
93
Test 4
PAPER 2 WRITING (1 hour 30 minutes)
Part 1
You must answer this question. Write your answer in 10!220 wor"s in an a##ro#riate sty$e.
1 You are stu"yin% at an internationa$ &o$$e%e. 's (ohnson) the Prin&i#a$) has as*e" you to write
a #ro#osa$ on $i+rary ,a&i$ities at the &o$$e%e.
Rea" 's (ohnson-s emai$ below and the notes you have made. Then, using the In,ormation
a##ro#riate$y) write a #ro#osa$ to her) e.#$ainin% why you thin* the im#ro/ements are
ne&essary an" out$inin% how the ,a&i$ities &ou$" +e im#ro/e".
emai$ Page 1of 1
0rom1
Sent:
23+4e&t1
djohnson@cax.ac.uk
15March 2006
Library facilities
n o t
enough
Can you write a roosal sayin! what you think we
need to do to i"ro#e the library$ Money is li"ited too
sowe can%t do e#erythin!. Canyou say which of&6hortl
thin!s you think are the "ost i"ortant' oenin!
hours( work sace( books( #ideos( )*(other resources
or anythin! else you can thi& of. +
old + boring English
magazine51
*hanks
,ue -ohnson
Now write your #ro#osa$ ,or 's (ohnson) as out$ine" a+o/e. You shou$" use your own wor"s
as ,ar as #ossi+$e.
94
Paper 2 Writing
Part 2
2 You see the following announcement in a telecommunications magazine
KEEPING IN TOUCH
Are relationshipswith familiesand friends andface-to-facecontact with people under threat
fromthe increaseduseof modemtechnologysuch as emailand mo!ilephones"
#oesthis technologyhelpto improvereal communicationor shouldwe get out and meet
each other more"
Write and tell us what youthink$ giving reasonsfor your views. We will pu!lishthe most
interestingarticles.
Write your article.
3 %n &nglish-speaking friend is doing some research on pu!lic transport around the world and
has asked for a contri!ution from you.
Write a contri!ution for your friend's research$ explaining
( how important pu!lic transport is in your area
( why people are willing or unwilling to use it
( what you think should !e done to improve pu!lic transport in your area.
Write your contri!ution.
) You have seen the following advertisement in an international newspaper.
ISLAND ADVENTIJRE
We are looking for 30 people to take part in an e!iting ne" tele#ision progra$$e% *fyou are !&osen' you
will all (e taken to an islan) and left for si $ont&s with only !asic supplies% *a#e you got t&e ne!essary
skills to sur#i#e+ *a#e you got t&e rig&t personality to "ork ina tea$+ Tell us "&y you "ant to parti!ipate
an) "&y you s&oul) (e !&osen%
Write your letter of application.
+ %nswer one of the following two ,uestions !ased on one of the titles !elow.
-a. /ingsley %mis LucJcy Jim
You have !een asked to write an essay on 0im #ixon's attitude to work. *n your essay$
descri!e how 0im's attitude to work influences his actions and say whether or not you
sympathise with his !ehaviour.
Write your eaaay%
-!. 0ohn 1risham The Pelican Brief
Your college magazine has asked you to write an article on the '!ad guys' in The Pelican
Brief. Your article should descri!e the role these villains play in the story and say how you
think they add to the excitement of the plot.
Write your article.
95
Test 4
PAPER 3 USE OF ENGLISH (1 hour)
Part 1
For questions 1-12, rea the te!t "e#o$ an e%ie $hi%h ans$er (A, &, 'orO) "est frts ea%h (a)*
+here is an e!a,)#e at the "e(innin( (-)*
.ar/ 0our ans$ers on the se)arate ans$er sheet*
E!a,)#e1
& )anora,a ' s)e%ta%#e o out#oo/
2 A s%ener0
E!a,)#e1 I,3 3 -3 *L*I 3 3 4 &3 3 '3 3 53 3 --,
A (uie"oo/ $riter
He is 6i7e thousan ,etres u) in the Peru7ian Anes, $ith a 7ie$ o6 ,a(ni6i%ent (-) ***** a##
aroun* Loo/in( o$n at the sno$-%a))e ,ountains (1) ***** out "e#o$, Peter Hut%hison %an
"e (2) ***** 6or thin/in( that he has the "est 8o" in the $or#* &ut the (3) ***** require to /ee) it
so,eti,es (9) ***** hi, out* So,e a0s his hea (:) *****, not 6ro, #a%/ o6 o!0(en "ut 6ro, the
(;) ***** o6 %he%/in( roo,s in 6i6t0 i66erent hote#s*
Peter is in %har(e o6 a tea, o6 $riters $or/in( on a series o6 tra7e# (uie"oo/s* <Ea%h
(uie"oo/ %ontains hunres o6 thousans o6 6a%ts,< he sa0s* <=hen I a, on a resear%h tri), I
so,eti,es note o$n ei(ht0 )ointso6 (7) ..... inone a0* (>) ***** to )o)u#ar "e#ie6, "ein( atra7e#
$riter is no ho#ia0# So that others %an (et the ,ost out o6 their tri)s, I ha7e to (?) ***** #on(
hours*<
A6ter ri7in( hi,se#6 har 6or a $ee/, Peter (1-) ***** hi,se#6 "0 ta/in( a 6e$ a0s o66 to (11) *****
his o$n 6a7ourite #eisure a%ti7ities, $hi%h in%#ue s%u"a-i7in( an 8un(#e tre/s* He has an
a,a@in(#0 %o,)rehensi7e /no$#e(e o6 South A,eri%a* <I< #o7e to #i7e here )er,anent#0,< he
sa0s, <"ut I ha7e to return to Lonon to %hase u) the other %ontri"utors an ,a/e sure the
#atest "oo/ oesn<t 6a## "ehin (12) It<s ue out in O%to"er an ,ustn<t "e #ate*<
96
1 A expanding B spreading C broadening D lying
2 A mistaken B toIeIated C spared D forgiven
3 A force B power Ceffort D attempt
4 A wears B brings C works D bears
5 A tums B spins C winds D twists
8 A strain B affliction C suffering D distress
f"
7 A Interest B attention C value D attraction
8 A Opposite B Contrary C Alternative D Distinct
9 A putln B takeup C makeover D get Into
10 A celebrates B deligts C rewards D praises
11 A perfonn B pursue C maintain D attend
12 A timetable B programme C scedule D agenda
97
Test 4
Part 2
one word in each gap. here is an exa!ple at the beginning (0).
"rite your answers IN #$%&$' '(&()* on the separate answer sheet.
(xa!ple+ ,& w & & & T & - & , & u & T &
he history of the cine!a
&n .ritain, the cine!a was, /,0 ..... doubt, the !ost i!portant for! of public co!!ercial entertain!ent
of the twentieth century. Until its popularity was eclipsed in the 112,s by tele3ision, cine!a en4oyed
a period of so!e fifty years during /130 ..... its appeal far exceeded /150 ..... of sport or indeed any
other co!!ercial leisure acti3ity.
he popularity of the cine!a at that ti!e is /120 ..... difficult to explain+ it was accessible, gla!orous
and cheap. $t /160 ..... height, between 112,and 112,, a 3ery s!all su! of !oney /170 .....
guarantee a good seat in the cine!a. &n the 112,7, the usual 3enue was a s!all, neighbourhood
hall. he audience was drawn fro! the local area, and could /170 ..... so!e occasions be rather
noisy. .y the end of the 1138s,/110 ..... , the 3enue was !ore likely to be in /2,0 ..... of the larger
cine!as known as 9picture palaces9, which were springing up e3erywhere in city centres /210 .....
acco!!odate audiences of o3er two thousand people. /220 ..... these establish!ents, the
audiences were expectedto be well beha3ed: the perfor!ances were organised4ust /230 ..... !ilitary
operations, /250 ..... unifor!ed staff on hand to control the queues and usherettes to direct seating
arrange!ents.
hese large cine!as attracted /220 ..... 3ery !ixed audience, although older peoplewere less likely
to be cine!a-goers than adolescents. $s !ight be expected, people in rural areas were /260 .....
i!!ersed in the cine!a than were people in towns, si!ply /270 ..... of the greater pro3ision of
cine!as in urban areas.
98
Part 3
For questions 28-37, read the text below. Use the word given in capitals at the end of some of the
lines to form a word that fits in the gap n the same line. !here is an example at the beginning "#$.
%rite &our answers ' ()*!)+ +,!!,-. on the separate answer sheet.
/ow music was written down
!he familiar "#$ ..... s&stemof notation - writing down music using s&mbols -
has ta0en thousands of &ears to develop. n ancient times, elaborate music
was in "28$ ..... , even though it was never written down. ,ventuall&, however,
"21$ ..... felt the need to record their music, and so the search began
for a s&stemof s&mbols that could "3#$ ..... denote the exact pitch of the
noteto be sung or pla&ed, and at the same time tell the "32$ ..... how long
that note should be held.
!he ancient 3ree0s and -omans did this b& using their alphabetical letters
in a "32$ ..... of wa&s, but the slow development of notation could not 0eep
pace with "33$ ..... complex musical developments. !he 23thcentur& saw
the introduction of colours to represent more complex notevalues.
%ith the invention of printing in the 24thcentur&, the writing of notes was
"35$ ..... to blac0 and white and the number of lines became fixed at five.
6& the middleof the 28thcentur&, musical notation had settled down to its
modem usage.
!he main "34$ ..... to this s&stem has been the adoption of expression mar0s,
which multiplied "37$ ..... in the 21th centur&. !hese conve& the composer8s
intentions as regards speed, "37$ ..... and so on, to the pla&er
or singer.
%,.!
,9.!
(:U.,
-,+;
*,-F<-=
:)-;
'(-,).,
.!)'>)->
)>>
.3'F;
'!,'.,
99
Test 4
Part 4
For questions 38-42, think of one word only which can be used appropriately in all three sentences.
Here is an example (0).
Example:
o The committee decided to the money equally between the two charities.
I cant belie!e that "ohn and #a$$ie ha!e decided to up after %0 years of marria$e.
To ser!e a watermelon you need to it down the centre with a sharp knife.
Example: 0I & I p I ' I I I T I
(rite only the missin$ word IN CAPITAL LETTERS on the separate answer sheet
)* +rofessor ,ilsson is one of the leadin$ experts in the of $enetic research.
The company wanted to purchase the football so as to build a new supermarket
there.
The walkers were told that they did not ha!e permission to cross the .
39 The company its awards ceremony in #arch last year.
"ohn the ladder firmly while his father painted the window frame.
The file that was destroyed some extremely important information.
40 I told the builders that the wall rather damp when I touched it.
-r .owan that it was time for him to retire after fifteen years as chairman.
/arin in her ba$ hopin$ her wallet was there.
100
41 There is unlikely to be any inthe weather this week.
Johann says he is really looking forward to his holiday because he needs a .
Could you let me have some for the parking meter?
42 My father gave me a ft into town and me at the railway station.
The estate agent the asking price for the house in the hope of a !uick sale.
"ithout any warning a piece of plaster suddenly from the ceiling.
101
Test 4
PartS
sentence, usingthe word given. Do not change theword given. You must use betweenthree and
six words, including the word given. Here is an example (0).
xample!
o Fernanda refused to wear her sister"s old dress.
#$%
Fernanda said that her sister"s old dress.
%he gap can be filled with the words "she would not wear", so &ou write!
xample! 01'H ($)*D #$% (+,
(rite the mi''ingwords -# .+/-%+* *%%,' on theseparate answer sheet.
01 'all& was all read& to leavethe office when her boss as2ed her to t&pe up a report.
/$-#%
'all& was the office when her boss as2ed her to
t&pe up a report.
00 3ar2 once wor2ed for an international charit& organisation on a voluntar& basis.
+'
3ar2 used with an international charit&
organisation.
04 %he& plan to repair the bridge this wee2end.
'.HD)*D
%he repair of the bridge place this wee2end.
102
46 If you change any of these arrangements, please be sure to let us know.
NOTIFY
Pleaseensure that change inthese arrangements.
47 Most of the problems arose because there was no leadership on the committee.
CAUSED
It was the most of the problems on the committee.
48 I didn't realisethat she had decided to come to the meeting.
DECISION
I was unaware attend the meeting.
49 I'm going to eat less chocolate this year.
DOWN
I'm going to of chocolate I eat this year.
! "e got started on the new pro#ect immediately.
TIME
"e lost on the new pro#ect.
103
Test 4
Part 1
You will ear tree !i""erent extra#ts$ %or &uestions 1'() #oose te answer (A) * or +) wi# fits
,est a##or!in- to wat you ear$ Tere are two &uestions "or ea# extra#t$
I Extra#t .ne I
You ear part o" a ra!io !is#ussion a,out a"oot,all tearn$
1 /at impresses te man a,out te player #alle! 0on Elliott1
A 2e is a,le to 3eep #alm wen e -ets near te -oal area$
* 2e is -oo! at pre4entin- te opponents "rom s#orin-$
+ 2e #an s#ore many -oals -i4en te ri-t #on!itions$
5 /at !o te two spea3ers !isa-ree a,out1
A te in"late! pri#e pai! "or te new player
* te new player6s lon-'term prospe#ts in te team
+ te mana-er6s pre4ious mista3es wen pur#asin- players
I Extra#t Two I
You ear part o" a ra!io Inter4iewwit 7eanna+arri#on!e) wo as 8ust won a pri9e "or er
en4ironmental wor3 in Sout Ameri#a$
: 7eanna tin3s te un!ertyin-#ause o" te e#osystem #an-es se mentions is
A o4er"isin- ,y in!ustrial "iseries$
* in#rease! lo#al sea temperatures$
+ -rowt o" pre!ator populations in te area$
4 2ow !o te lo#al "isermen "eel a,out 7eanna6s wor3 now1
A unappy a,out sarin- teir #at# with marine #reatures se prote#ts
* please! tat se as pre4ente! in!ustrial exploitation o" an#o4ies
+ optimisti# a,out te prospe#t o" #at#in- ,etter &uality "is
104
Paper 4 Listening
Extract Three
You hear part of a radio programme about books and reading.
S Why did the woman read the book she describes?
A It was an unexpected gift.
B She came across it by chance.
C It was recommended to her.
What did the book he!p her to understand?
A how strange the wor!d is
B how en"oyab!e stories can be
C how she cou!d become a writer
105
Test 4
Part 2
You will hear part of a radio programme about cherries, small fruit which growon trees. For questions
7-14, complete the sentences.
CHERRIES
The speaer gi!es the e"ample of
L_____ ----# -$ 7$ $ $ ,+ as a crop being replaced b& cherries.
To protect &oung trees from e"tremes of weather, a
8 1ma& be used.
~-----------~~
'herries are prone to cracing because there is hardl& an&
L_____ ----# -$ ($ $ $ ,1 on the sin of the fruit.
The speaer compares the cherr& to a ) 10 1when e"plaining
~-----------~~
the effect of rain on the fruit.
*hoppers are ad!ised to purchase cherries which ha!e a
L_____ + 1$ 1$ $ $ ,1 1stem and loo fresh and tasty.
The traditional !iew was that cherries need up to
L_____ ----# -$ 12$ $ $ ,1 before the& produce a useful crop.
The most popular new !ariet& of cherr& tree amongst farmers has the name
,hile picing cherries, eep a
1411n &our mouth to stop &ou eating too man&.
~---------------'-~
106
Paper 4 Listening
Part 3
You will hear a radio interview in which an artist called Sophie Axel is talking about her life and
career. For questions 1!"#$ choose the answer %A$ &$ ' or () which fits best according to what
*ou hear.
1 Sophie illustrates the i+portance of colour in her life b* sa*ing she
A has coloured da*drea+s.
& associates letters and colours.
' paints people in particular colours.
( links colours with da*s of the week.
1, Sophie-s attitude to risk is that her children should be
A left to cope with it.
& warned about it.
' taught howto deal with it.
( protected fro+ it.
1. Sophie-s +other and aunt use their artistic gifts professionall* in the
A pictures the* paint together.
& pla*s the* perfor+ on stage.
' ob/ects the* help to create.
( clothes the* design and +ake.
10 Sophie feels the puppet show she +entions is a good exa+ple of
A the inspiration she gives to other people.
& the ad+iration she now en/o*s.
' the expectations she has to live up to.
( the assistance she gives the pla*group.
11 Sophie was a failure at art school because she
A was not interested in design.
& favoured introspective painting.
' was ver* pessi+istic.
( had a different approach to art.
"# 2hen Sophie had no +one* to repair her bike$ she offered to
A take a part!ti+e /ob.
& publicise a national charit*.
' produce an advertise+ent.
( design posters on co++ission.
107
-
o
00
~
'"
. . . . .
~
Part 4
You will hear five short extracts in which people are talking about tourism.
TASK !" TASK T#
$or %uestions &'(&)* choose from the list A(+
each speaker's occupation.
$or %uestions &,(-0* choose from the list A(+ each
speaker's aim for the future.
#hile .ou listen .ou must complete both tasks.
A travel broa/caster
Speaker' CG
A to increase the amount spent b. clients
Speaker' 0"
1 hotel owner 1 to improve our circulation
2 gui/e book publisher
Speaker & 03"
2 to revive countr. skills
Speaker& 0-
otourist boar/ representative
Speaker- 0"
oto raise stan/ar/s overall
Speaker- 0"
" environmentalist " to restore local transport networks
$ railwa. executive
Speaker 4 t56
$ to refurbish the rooms
Speaker4 [E
6 manager of a tourist attraction 6 to attract a new t.pe of client
+ local govemment official
SpeakerS 0"
+ to expan/ tourist accommo/ation
SpeakerS ~
Paper 5 Speaking
There are two examiners. One (the interlocutor) conducts the test, providing you with the
necessary materials and explaining what you haveto do. The other examiner (theassessor) is
introduced to you, but then takes no further part in the interaction.
Part 1 (minutes)
The interlocutor first asks you and your partner a few !uestions. The interlocutor asks candidates
for some information about themselves, then widens the scope of the !uestions by asking about,
e.g. candidates" leisure activities, studies, travel and daily life. #andidates are expected to
respond to the interlocutor"s !uestions, and listen to what their partner has to say.
Part 2 (aone$minute "long turn" for each candidate, plus %$second response from the
second candidate)
partner has spoken.
minute. 't is important to listen carefully to the 'nterlocutor"s instructions. The interlocutor then
asks your partner a !uestion about your pictures and your partner responds briefly.
&ou are then given another set of pictures to look at. &our partner talks about these pictures for
about one minute. This time the interlocutor asks you a !uestion about your partner"s pictures
'n this part of the test you and your partner are asked to talk together. The interlocutor places a
newset of pictures on the table between you. This stimulus provides the basis for a discussion.
The 'nterlocutor explains what you have to do.
The 'nterlocutor asks some further !uestions, which leads to a more general discussion of what
you havetalked about in )art . &ou may comment on your partner"s answers if you wish.
109
Paper 5 frames
Test 1
Note: In the examination, there will be both an assessor and an interlocutor in the room.
The visual material for Test 1 appears on pages Cl and C2 (art 2!, and C" (art "!.
Part 1 " minutes (#minutes for groups of three!
Interlocutor: $ood morning%afternoon%evening. &' name is and this is m'
colleague .
(nd 'our names are)
Can Ihave 'our mar* sheets, please)
Than* 'ou.
+irst of all we,d li*e to *now something about 'ou.
Select one or two questions and ask candidates in turn, as
appropriate.
- .here are 'ou from)
- .hat do 'ou do here%there)
- /ow long have 'ou been stud'ing 0nglish)
- .hat do 'ou en1o' most about learning 0nglish)
Select one or more questions from any of the following categories,
as appropriate.
2earning
- 3o 'ou prefer stud'ing on 'our own or with other people)
(.h')!
- /ow important have teachers been in 'our life so far)
laces
- .hat is the most memorable place 'ou have ever visited)
- .hich is the most important room in 'our house)
(.h' is that)!
/ealth and fitness
- .hat do 'ou do to *eep fit)
If'ou had the opportunit' to learn a new sport, what would it
be) (.h')!
114
Paper 5frames
Part 2 4 minutes (6 minutes for groups of three)
Flags
Wheels
Interlocutor: Inthis part of the test, I'm going to give each of you three pictures.
I' li!e you to tal! a"out them on your o#n for a"out a minute,
an also to ans#er a $uestion "riefly a"out your partner's pictures.
(Candidate A), it's your tum first. %ere are your pictures. &hey
sho# ifferent situations in #hich flags are use.
Indicate the pictures on page '( to the candidates.
I' li!e you to compare t#o of the pictures, an say #hy the flags
are "eing use, an #hat effect they might have on people #ho see
them.
)ll right*
'aniate ): +( minute]
Interlocutor: &han! you.
(Candidate B), in #hich picture o you thin! the flags have the
greatest significance*
'aniate ,: [Approximately -. seconds]
/o#, (Candidate B), here are your pictures. &hey sho# people an
ifferent !ins of #heels.
Indicate the pictures on page '2 to the candidates.
I' li!e you to compare t#o of the pictures, an say #hat the
#heels ena"le people to o, an ho# important they might "e.
)ll right*
'aniate ,: +( minute]
(Candidate A), #hich #heel o you thin! #oul "e the most
ifficult to operate*
'aniate ): [Approximately -. secondsl
111
Paper 5frames
Parts 3and 4 8minutes (12minutes for groups of three)
Better health care
Part 3
Interlocutor: Now, I'd like you to talk about something together for about three
minutes. (5 miraaes for groups ofthru)
ere are some suggestions for impro!ing health care in your area.
Indicate the pictures on page C3 to the candidates.
"irst, talk to each other about how effecti!e these suggestions
might be in impro!ing health care. #hen decide which two
suggestions would benefit the local community most.
$ll right%
&andidates: '3minutes (5 minutes for groups of three)]
Interlocutor: #hank you.
Part (
Interlocutor: Select any of the following questions as appropriate:
) *ome people say we rely too much on medicines nowadays.
+hat's your opinion%
) *hould children's health education be the responsibility of
parents or schools% ,+hy%)
) +hat can be done to make hospitals more friendly places for
young children%
) +hat in your !iew are the -ualities of a good doctor%
) .o you think our lifestyles will become more healthy or less
healthy in the future% ,+hy%)
#hank you. #hat is the end of the test.
Select any of the following prompts as appropriate:
) +hat do you think%
) .o you agree%
) ow about you%
112
Paper 5frames
Test 2
The visual material for Test 2 appears on pages C4, C5 !art 2", and C# !art $".
Part % $minutes 5minutes for groups of three"
Interlocutor: &ood morning'afternoon'evening. () name is .... and this is m)
colleague .
*nd )our names are+
Can Ihave )our mar, sheets, please+
Than, )ou.
-irst of all we.d li,e to ,now something about )ou.
appropriate.
/ 0here are )ou from+
/ 0hat do )ou do here'there+
/ 1ow long have )ou been stud)ing 2nglish+
/ 0hat do )ou en3o) most about learning 2nglish+
as appropriate.
4ail) life
/ 1ow important is the computer in )our dail) life+
/ Is it eas) for )ou to find time to relax ever) da)+ 0h)+ I0h)
not+"
Friends
/ 4o )ou and )our friends share the same interests+ Is this a good
thing+"
/ 4o )ou thin, )ou will still have the same friends in ten )ears.
time+
The future
/ 0hat do )ou thin, )ou will be doing in five)ears. time+
/ *re )ou excited or worried about the future+ 0h)+"
%%$
Paper 5frames
Part 2 4minutes (6minutes for groups of three)
Learning through games
Expressing feelings
Interlocutor: In this part of the test, I'm going to give each of you three pictures.
I'd like you to talk about them on your on for about a minute,
and also to anser a !uestion briefly about your partner's pictures.
(Candidate A), it's your tum first. "ere are your pictures. #hey
sho children playing different games.
Indicate the pictures on page $% to the candidates.
I'd like you to compare to of the pictures, and say hy children
en&oy games like these, and hat children might learn from playing
them.
'll right(
$andidate A: [1minute]
(Candidate B), hich game do you think the children seem to be
en&oying most(
$andidate ): [Approximately *+ seconds]
,o, (Candidate B), here are your pictures. #hey sho people
expressing different feelings.
Indicate the pictures on page $5to the candidates.
I'd like you to compare to of the pictures, and say hat feelings
are being expressed, and hat might have made the people feel like
this.
'll right(
$andidate ): -. minute]
(Candidate A), hich picture do you think shos the person's
feelings most clearly(
$andidate ': [Approximately *+ seconds]
..%
Paper 5frames
Parts 3 and 4 8 minutes (12 minutes for groups of three)
Attracting passengers
Part 3
Interlocutor: Now, I' li!e "ou to tal! a#out something together for a#out three
minutes$ (5minutes for groups of three)
%ere are some ieas for impro&ements that an airline is consiering
as a wa" to attract more passengers$
)irst, tal! to each other a#out how great the eman might #e for
these impro&ements$ *hen ecie which woul #e the most, an
which the least, effecti&e in attracting more passengers$
All right+
'aniates: [3 minutes (5minutes for groups of three)J
Interlocutor: *han! "ou$
Part 4
, -houl people get to !now their own countries #efore tra&elling
a#roa+ (.h"+ / .h" not+)
, .hat o "ou thin! is the #est age for "oung people to start
tra&elling a#roa+ (.h"+)
, .hat pro#lems o people ha&e tra&elling aroun large cities+
, .hich !ins of transport o "ou thin! might isappear in the
future+
, -ome people sa" there is nowhere left to e0plore on this planet$
.hat's "our opinion+
*han! "ou$ *hat is the en of the test$
, .hat o "ou thin!+
, 1o "ou agree+
, %ow a#out "ou+
115
Paper 5frames
Test 3
Note: In the examination, there will be both an assessor and an interlocutor inthe room.
The visual material for Test 3 appears on pages C7 and C !"art #$, and C% !"art 3$.
Part & 3 minutes !5minutes for groups of three$
Interlocutor: 'ood morning(afternoon(evening. )* name is ....... and this is m*
colleague .......
+nd *our names are,
Can Ihave *our mar- sheets, please,
Than- *ou.
.irst of all we/d li-e to -now something about *ou.
appropriate.
0 1here are *ou from,
0 1hat do *ou do here(there,
0 2ow long have *ou been stud*ing 3nglish,
0 1hat do *ou en4o* most about learning 3nglish,
as appropriate.
5eisure
0 1hat do *ou do to relax after a bus* da*,
0 2ow important is music in *our life,
Travel
0 1here would *ou li-e to go for *our next holida*, !1h*,$
0 1hat do *ou en4o* most about being on holida*,
"eople
0 1ho has had the greatest influence on *our life so far,
0 2ow eas* is it for *ou to meet new people,
&&6
Paper 5frames
Storing things
Retail outlets
Interlocutor: In this part of the test, I'm going to give each of you three pictures.
I' li!e you to tal! a"out them on your o#n for a"out a minute,
an also to ans#er a $uestion "riefly a"out your partner's pictures.
(Candidate A), it's your turn first. %ere are your pictures. &hey
sho# #ays of storing things.
I' li!e you to compare t#o of the pictures, an say ho# practical
it is to store things in these #ays, an ho# easy it might be for
people to fin #hat they are loo!ing for.
)ll right*
'aniate ): +, minute]
(Candidate B), #hich #ay of storing things o you thin! is the
most practical*
'aniate -: [Approximately ./ seconds]
0o#, (Candidate B), here are your pictures. &hey sho# ifferent
places to shop.
I' li!e you to compare t#o of the pictures, an say #hat !in of
customers they might attract, an #hat the avantages of shopping
in these places might "e.
)ll right*
'aniate -: +, minute]
(Candidate A), #hich of these places o you thin! offers the "est
value for money*
'aniate ): [Approximately ./ seconds]
,,(
Paper 5frames
Parts 3 and 4 8 minutes (12 minutes for groups of three)
Weather conditions
Part 3
Interlocutor: Now, Id li!e "ou to tal! a#out something together for a#out three
minutes$ (5minutes for groups of three)
%ere are some pictures showing different !inds of weather
conditions in the world$
&irst, tal! to each other a#out how the weather conditions can
affect peoples li'es$ (hen decide which two !inds of weather could
ha'e the most harmful effects$
)ll right*
+andidates: [3 minutes (5minutes for groups of three)]
Interlocutor: (han! "ou$
Part 4
, What effect does a countr"s climate ha'e on the personalit" of
the people li'ing there*
, What ad'antages or disad'antages are there in li'ing in a
countr" which has seasons*
, -ome peoples idea of happiness is a la." summers da"$ Wh" do
"ou thin! this is*
, Wh" do people spend time sun#athing when the" are told it is so
#ad for their health*
, -ome people sa" more should #e done to pre'ent glo#al
warming$ Whats "our opinion*
(han! "ou$ (hat is the end of the test$
, What do "ou thin!*
, /o "ou agree*
, %ow a#out "ou*
118
Paper 5frames
Test 4
The visual material for Test 4 appears on pages ClO and Cll (art !", and C#! (art $".
Part # $ minutes (5minutes for groups of three"
Interlocutor: %ood morning&afternoon&evening. '( name is ....... and this is m(
colleague .......
)nd (our names are*
Can Ihave (our mar+ sheets, please*
Than+ (ou.
,irst of all -e.d li+e to +no- something about (ou.
appropriate.
/ 0here are (ou from*
/ 0hat do (ou do here&there*
/ 1o- long have (ou been stud(ing 2nglish*
/ 0hat do (ou en3o( most about learning 2nglish*
as appropriate.
ersonal experience
/ In -hat -a(s do (ou hope to use (our 2nglish in the future*
/ 4oo+ing bac+ on (our life, -hat has been a memorable event for
(ou*
The media
/ 5o (ou prefer -atching films at home or in the cinema* (0h(*"
/ 1o- important are ne-spapers for (ou* (0h( do (ou sa( that*"
Travel
/ 0hat advice -ould (ou give to someone coming to visit (our
countr(*
/ 0ould (ou consider going on holida( on (our o-n* (0h(* I
0h( not*"
##6
Paper 5frames
Bygone days
Unexpected events
Interlocutor: In this part of the test, Im going to give each of you three pictures!
Id li"e you to tal" a#out them on your o$n for a#out a minute,
and also to ans$er a %uestion #riefly a#out your partners pictures!
(Candidate A), its your turn first! &ere are your pictures! 'hey
sho$ people $ith photographs of the past!
Indicate the pictures on page Cl0 to the candidates.
Id li"e you to compare t$o of the pictures, and say $hat aspects
of the past the photographs sho$, and ho$ the people might #e
feeling as they loo" #ac" on the past!
(ll right)
*andidate (: IIminute]
Interlocutor: 'han" you!
(Candidate B) $hich of these people do you thin" might regret the
passing of time the most)
*andidate B: lApproximately +, seconds]
-o$, (Candidate B), here are your pictures! 'hey sho$ unexpected
events!
Indicate the pictures on a page Cl l to the candidates.
Id li"e you to compare t$o of the pictures, and say $hat might
have caused these events, and ho$ they could have #een prevented!
(ll right)
*andidate B: IIminute]
(Candidate A), $hich of these pictures do you thin" might appear
in a national ne$spaper)
*andidate (: rApproximately +, seconds]
120
Paper 5frames
Parts 3 and 4 8minutes (12minutes for groups of three)
Relieving the pressure
Part 3
Interlocutor: Now, I'd lie !ou to t"l "#out something together for "#out three
minutes$ (5 minutes for groups of three)
%ere "re some pictures showing w"!s in which people c"n esc"pe
fromthe pressures of ever!d"! life$
Indicate the pictures on page el2to the candidates.
&irst, t"l to e"ch other "#out how these "ctivities might help
people esc"pe from the pressures of ever!d"! life$ 'hen decide
which two might h"ve the most l"sting #enefit$
All right(
)"ndid"tes: *3 minutes (+minutes for groups of three)]
Interlocutor: Thank !ou$
Part 4
, -h"t other things help people to rel". after " #us! d"!(
, /o !ou thin some people wor #etter under pressure( (-h!( I
-h! not()
, Now"d"!s, m"n! people wor from home$ /o !ou thin this is
" good or " #"d thing( (-h!()
, 0ome people #elieve th"t "n! "ctivit! we do #ecomes #oring
after " while$ -h"t's !our opinion(
, Is it possi#le to #e tot"ll! h"pp! in life( (-h!( I-h! not()
'h"n !ou$ 'h"t is the end of the test$
, -h"t do !ou thin(
, /o !ou "gree(
, %ow "#out !ou(
121
Marks and results
Paper 1 Reading
Candidates record their answers in pencil on a separate answer sheet. Two marks are given for
each correct answer in Parts 1,2 and 3 and one mark is given for each correct answer in Part
4. The total score is then weighted to 40 marks for the whole Reading paper.
Paper 2 Writing
General impression mark scheme
A eneral !mpression "ark #cheme is $sed in con%$nction with a Task&specific"ark #cheme,
which foc$ses on criteria specificto each partic$lar task. The eneral !mpression "ark
#cheme s$mmarises the content, organisation and cohesion, range of str$ct$res and
voca'$lar(, register and format, and target reader indicated in each task.
A s$mmar( of the eneral !mpression "ark #cheme is given 'elow. Trained e)aminers, who
are co&ordinated prior to each e)amination session, work with a more detailed version, which
is s$'%ect to $pdating. The CA* eneral !mpression "ark #cheme is interpreted at Co$ncil of
*$rope, Common *$ropean +ramework ,evel Cl.
- Candidates who do not address all the content points will 'e penalised for dealing
inade.$atel( with the re.$irements of the task. Candidates who f$ll( satisf( the /and 3
descriptor are likel( to demonstrate an ade.$ate performance at CA* level.
/and# +or a /and S to 'e awarded, the candidate0s writing has a ver( positive effect on the target reader. The
content is relevant1 and the topic is f$ll( developed, !nformation and ideas are skilfully organised
thro$gh a range of cohesive devices, which are used to good effect. A wide range of comple) str$ct$res
and voca'$lar( is $sed effectivel(. *rrors are minimal, and inacc$racies which do occ$r have no impact
on comm$nication. Register and format are consistentl( appropriate to the p$rpose of the task and the
a$dience.
/and 4 +or a /and 4 to 'e awarded, the candidate0s writing has a positive effect on the target reader. The content
is relevant1 and the topic is developed. !nformation and ideas are clearl( organised thro$gh the $se of a
variet( of cohesivedevices. Agood range of comple) str$ct$res and voca'$lar( is $sed. #ome errors ma(
occ$r with voca'$2 and when comple) language is attempted, '$t these do not ca$se diffic$lt(for the
reader. Register and rmat are $s$all( appropriate to the p$rpose of the task and the a$dience.
/and 3 +or a /and 3 to 'e awarded, the candidate0s writing has a satisfactor( effect on the target reader. The
content is relevant1 with some development of the topic. !nformation and ideas are generall( organised
logicall(, tho$gh cohesive devices ma( not alwa(s 'e $sed appropriatel(. A satisfactor( range of
. .
str$ct$res and voca'$lar( is $sed, tho$gh word choice ma( lack precision. *rrors which do occ$r do
not ca$se diffic$lt( for the reader. Register and format are reasona'l( appropriate to the p$rpose of the
task and the a$dience.
/and 2 +or a /and 2 to 'e awarded, the candidate0s writing has a negative effect on the target reader. The
content is not alwa(s relevant. !nformation and ideas are inade.$atel( organised and sometimes
incoherent, with inacc$rate $se of cohesive devices. The range of str$ct$res and voca'$lar( is limited
and3or repetitive, and errors ma( 'e 'asic or ca$se diffic$lt( for the reader. Register and format are
sometimes inappropriate to the p$rpose of the task and the a$dience.
/and 1 +or a /and 1 to 'e awarded, the candidate0s writing has a ver( negative effect on the target reader. The
content is often irrelevant. !nformation and ideas are poorl( organised and often incoherent and there
is minimal $se of cohesive devices. The range of str$ct$res and voca'$lar( is severel(limited, and
errors fre.$entl( ca$se considera'le diffic$lt( for the reader. Register and format are often
inappropriate to the p$rpose of the task and the a$dience.
/and 0 +or a /and 4ero to 'e awarded, there is either too little lang$age for assessment or the candidate0s
writing is totall( irrelevant or illegi'le.
122
Marks and results
Paper 2 sample answers and examiner's comments
Sample A (Test 1, Question 1 - Report)
To: ColI~e Principal
From: Student Annette Fournier
Topic: Camer Conference Attend~
A6 reqUe6~ I am 6u!mfttln" a report a!out t#l6 conference $eattend~ iset: $ee%endat
&ancou'er (all e)pre66ln" our polnte of 'fe$6a!out t#l6 e'ent
The conference $a6 opened on Frida* at +,, am and t#e openin" cemmon* $a6 cro$d~ $it#
proieeeore and 6tudent6 from different coll~e6 from all o'~r Canada Th~ follo$fn" da*6 $e
attend~d t#~ m-#l!ftfon./ cxpo~. ~~n t#ou"# t#~re were tal%6 on $fd~ran"~ of camere It $ae ~ry
dIfficult to flnd e)p~rte/ a'aila!l~ to "l~ ad'fce a!out 6p~lflc 0o!6 Th~re $~reo'er 1,,dlff~rent 0o!e
#o$e'er2for U6it $a6 imp,66i!le to c#an"e id~a6 $it# a 6~iall3~ perean In lan"ua"e6
4~6pfU t#l6 fact t#~ m-#i!ltion5S6"reat eome of t#~ tal%6 were ama3in"l* "ood e6p~iall* t#e
one6 a!out eotence; $e I~amt a lot a!out t#i6 fl~6d
A "ood Idea $ould !~ t#at for t#~ fort#comin" e)#l!ltlone/ more #umanlt1e6 e)p~rte/ $ould
attend t#~ oonierenc7 and sleo or"anl3ere 6#ould tryto "~ ~nou"# people to ane/$erquee/t1om/
In e/ummar* $~could 6a* It $ae/an m-c~lIentopportunit* for ue/to 6#are $ft# e/e'eral%ind of
e/tudente and an m-traon:llnar* $a* to "~ %no$l~"t: a!out 6, man* ca~ t#at $ill en#ance our
future 6tudle6
Comments
Content (points covered)
The task has been completed and all the necessarypoints are covered with some expansion.
r!anisation and cohesion
"ome attempt has been made to use an appropriate format.
#an!e
The ran!e of lan!ua!e is satisfactory with a !ood ran!e of vocabulary.
Accuracy
The writin! is !enerally accurate althou!h occasionally the wron! word was chosen (e.!. you
exchan!e ideas ... (not change ideas$, and the word exposed is used inappropriately$. The
candidate needs to pay some attention to punctuation, particularly to the use of the comma, as
inappropriate use of punctuation occasionally makes it hard to follow the writin!.
Appropriacy of re!ister and format
The re!ister used is !enerally appropriate althou!h it would be better to put relativelyinformal
comments like %the exhibition was !reat% into less collo&uial lan!ua!e for a rep%'%tto the
colle!e principal.
Tar!et reader
The tar!et reader would be informed as to how the writer felt about the conference. (owever,
occasional comments are made about how to improve the conference that would be more
relevant for the conference or!anisers than the writer%s own colle!e principal.
)and *
1+,
Marks and results
Sample B (Test 1, Question 2 - Article)
la thf:~ a df:f:pf:r mf:anlng bf:hlnd faahlon?
Nowada)l6 a lot of pf:!plf:thin" tal"ing about clothf:6 and fa6hlon #66u$f:r%clal bf:&au6f:#t'6onl(
about loo"6 and not about 6!mf:!nf:'6characur or per6)nallt(* But +t'a notl
,a6hion lan't onl( about loo"ing a6 good a6 a 6u$f:nnodf:l* -t'6 much mo~ than that b.au6f: thf:
clothf:/ $f:!plf:wear can tf:l+ (ou 6!mf:thlng about thf:lr cnsrscter or thf: 6!&if:t(or cuitur0 they
come from* Let mf: gl1f: (ou an e.smplf:* +n thf: 2oldf:n Twentif:6 womf:n +n 2f:nnan( bf:&amf:more
+ndf:pf:ndent and df:&ldf:dtof:n3o(++ff: mo~ for e.smplf: by going to&sff:6 and bar6* And what did
they do? Theycut thf:lr hair and wo~ e.tra1agant d~6/e6 tof:4p~66 thf:lr newattltudf:6 to+lff:*
Anothf:r e.smplf: 16 thf: 5#6t centur( woman who tend6 towear troueere rathf:r than 6"lrt6 or
d~a6f:6 a6 hf:r grandmothf:r u6f:d todo* 7h(? Thf: reseon 16, that 6hf: want6 toe.p~66 hf:r
+ndf:$f:ndencea6 a wor"ing woman who n~6 towear comfortablf: and practical &lothf:6 and 6M
al6) want6 tobf: ~ t:8uall( a6 men*
+t la +mportant to"nowthat pf:!ple'6ciotne6 +ndlcau thf: cutuu0 or 6!c-~ they come from*
7hat'6 mo~ clothf:a can al6) ull (ou +nu~atlng thlng6 about pf:!plf:'6+lff:6t(lea for e.smplf: +n
which b9f':lnf:6f':they wor" or Ifthe( a~ f:n1ironmf:ntallf':t* Thf: colour of thf: &lothf:6 eomeone la
wf:arlng might refff:Ct hl6lhf:r mood*
So thf: ne.t tlmf: (ou wal" down a road "f:f:p(our eyf:8o$f:nand (ou'll bf: 69rprl6f:d howmuch you
can +f:am about $f:!plf:'6+df:ntltlf:;* Juet: ++"f: +n thf: 6S(-ng (ou sre what (ou wear:'
Comments
Task fully copleted, with appropriate e!pansion"
#r$anisation and cohesion
Clearly or$anised with $ood use of cohesive devices"
%an$e
&ide ran$e of voca'ulary and structure"
(ccuracy
Controlled and natural use of lan$ua$e with inial errors"
(ppropriacy of re$ister and forat
Consistently appropriate throu$hout"
Tar$et reader
)ery positive effect on tar$et reader, *ho *ould consider pu'lishin$ the article"
+and ,
124
Marks and results
Sample C (Test 1, Question 3 - Contribution)
Th~proeramm~ ~alnM ~ popularity not only I1ecaU6t1of ~ virtuality, but becaue It mot!vstet"
~op!~#e curlouelty toloo$ throu~h tooth~r ~p!~#t% IIvt&ean' ~r6(nal affaire) So, *hat about
tnoe ~op!~ b~!n~+b6t1rvMall th~ t!m~, Mort& 1rrtt&rt&6tln-, they art& beautiful ~!rl6 *hoart& 6een
'ally #naturaly# l1ecauethey can#t control th~!r ~ry action or *ort!) .ach of ut%wond"r6 If
~erybo'y IIvet%th~ 6ame 11f~a6" eam~ prob!erne, Intert&6t6, or any other concept of IM/0 an'
treatin- oth~rs)
I per6(naly 'on#t thin$ that thl6 pro-ramme 'e6t&rvet%It6popularity bt&eau6t& It Intru'~6 (/#+ple#6
IIv~6(thou~h they p~rm!t that) an' from my ~rep~vt& !t#6 a *at%te oft!me, an' It 6eetfffJtome a
borln~ pro-ramme to*atch) I hate b~!n-*atchM or follo*l~ rules an' beel't&t%,*ho Is fJO
Intert&6tM In *atchin- my 11f~,1 .vt&nth~!r IIvee16not *orth *atchin- l1ecau6t&all they 'o 16
*on'erln~ the h+Uetal$ln~, eatln~, 6!~~pln-,an' finally, one of th~m -~ the cro*n) 1othin- really
1rrtt&rt&6tln-)
+neof th~ moet popular 12proerammee In my country 16#~!ectln~# MIS6 3ebanon) Threeyears
a-o, It share' ~ popularity *ith othM -ame proeramme6, but no*, than$6 toa ne* vt&relon
prt&6t&ntM In th~ pro-ramme, othM proerammet% eeem uncomparabl~ toMI66 3ebanon)
Th~luc$y -irl to*in 16not e!~ by any rd~reee. In fact, ~p!~ \ o " O te for their -irl) %U6t II$~
many oth~re pro-rammet% that ue"e'this m~o', the can'i'ates art& ta$~ toa houee" *hert& they
art& completely 16(latM an' bannM from ~oln- out) Theonly connection bet*een the ~!rl6 an' the
#mcternal *orl'# Is the telephone) Thehou6t&, with allit rooms an' facilities, Ie ~ulpM *ith
csmerse that filma all their ecuone an' recora4 *hat they Bay. Thefilm 16th~n broa'caetM on 12
an' the au'ience art& ~!ven one hour to\ o " O te for their can'i'ate via telephonet%, text messa-in-, or
th~ Internet) .ach *ee$th~ ~!rl *ith Ieee votet% leave6an' after e~ral *ee$e,*e havt& a m!s6
3ebanon)
Comments
Co ntent (po ints co vered)
All po ints co vered. Ambitio us attempt at task.
O rganiJatio n and co hesio n
Clearly o rganised into paragraphs. Good internal co hesio n.
Range
o o d range o ! vo cabulary and structure.
Accuracy
A number o ! no n"impeding erro rs (e.g. #e$uiped %ith cameras that !ilms#& #the candidates are
take#).
Appro priacy o ! register and !o rmat
Co nsistently appro priate.
'arget reader
(o uld be in!o rmed and interested.
Band )
*+,
Marks and results
Sample D (Test2, Question Sa - Review)
I highly recommend you to read Lucky Jim. It !a "t#ty $unny !toty. Lucky Jim teacht#! hl!toty at
unlvt#%Jlty. &t# ie a$raid to looee hie' work and !( ht# tryvt#ty hard to )t# ntc to hi! *oe'!.&t# d*$Je'n+t
IIkt# thi! man or hie' eon, -t#rtrand and ht# d($J!n+t IIkt# tht# otner proieeeore too, al!( hie' glrl$rlt#nd
who ttJacht#e' at e'amt# univt#%Jlty. &t# hae' anotht#r relation with .hrle'tine# who ie; really tht# glrl$rlt#nd
of -t#rtrand. A vt#ty $unny part of tht# e'toty te wht#n Lucky Jim muet# makt# an Important tecture. &e#
$t#t#le' ve#ty worried a)out makt# thle' iectut and drlnkt' too much alcool. Tht#n In hie' lectur/ he# ttJII!
what he# really thlnke' of hl! )oe'e'and tht# otner proieeeore; *$ .*0%Je#, he# tnen iooeee hie'1o). -ut ht#
2ete a lot )t#ttt#r 1o) In London with more money. .hrl!tlnt# It#avt#! -t#rtrand $or him and ont# day
they meet# hie' iormer )(!! on tht# e'tre$#t and they 10!t laugh at him. Lucky Jim te not a vt#ty llka)lt#
pt#%Jon. &e# te not honeet# man and he# te not kind pt#%3(n. -ut ht# !ce#rtalnly lucky man and hl!
e'toty te vt#ty $unny and vt#ty wt#IwrlttJn. To e'um up. I t#n1oyt#d 4adlng tht# )ook and It#"t#n laught#d
aloud whe#nIwae' reading.
Comments
The candidate does not deal with one of the main points of the task inthat it does not describe
a likeable character in the story. As a result, it is not possible for this answer to get a higher
mark than 2.
rganisation and cohesion
The candidate has only written one paragraph ! although it is certainly a clearly constructed
paragraph, making some use of appropriate connecting devices.
"ange
A satisfactory range of vocabulary is used.
Accuracy
The candidate writes reasonably accurately although the words lose, alcohol, likeable and
written are not spelt correctly.
Appropriacy of register and format
"egister and format are appropriate.
Target reader
#ould be informed about the plot of the story and about the candidate$s opinion of it but
would not know which character the candidate found likeable and why.
%and 2
126
Marks and results
Sample E (Test 2, Question 5b - Essay)
The Pelican Bri~ te very good book o !ohn "rle#ham$ %t te ale#o a very gn&at ilm 'ith !ulia
(oberte# and )en*el +ae#hlngton$ !ulia (oberte# te one o my avourite actor and e#heplay very 'ell
part o heroine, 'ho te la'e#tudent$ %n the e#tory thle# heroine la'er triee# to dle#cover 'hy t'o -udgee#
murdered$ She eoon unden&#tande# that polltic., %ncluding Pree#ldent o /S0, and big buetnee are
%nvolved or the crime and e#he 1.ale#o slmoet& murdered e#everal timet#$ %n the end a -oumalle#t helpe#
her to ind the truth$
The e#tory te called The Pelican Bri~ becau.e at the centrt& o the e#tory i. eome land 'here
pelicane# live$ Big bue#lnee#e#'ant to dee#troy thi. land$ A brie are %n.tructlone# or a -ob or a la'er or
eome other pere#on$ So the herolne2e# br3~ 1.that e#he e#hould ind out the reseon o the murder o
the -udgee#$ 0nd that reseon te the pellcane#2 land 'hich both -udgee# 'anted to keep or the
pelicane#$ Bue#lne.e# 'anted to develop the land$ So the -udgee# 'ere killed$
%n conciueton, The Pelican Brie %e# a very e4citing e#tory and % en-oled n&ad %t very much$ %
abe#olutely recommend that people .hould read %t even they already have e#een the ilm$ +hen % read
%t, % didn2t 'ant to e#top to read %t and % couldn2t put %t do'n untlll lnle#hed it$
Comments
The content is relevant and all the aspects of the task are addressed.
Organisation and cohesion
The writing is organised in clear paragraphs and there is some attempt at using cohesive
devices.
Range
A satisfactory range of vocaulary is used although there is a certain lack of precision with the
use of such words as good, great and well. !t would e etter to avoid the repetition of read in
the last paragraph ifat all possile.
Accuracy
The candidate makes some errors -lawyer, enjoyed and until are all spelt wrongly, for
e"ample. Also there are a couple of e"amples of the ver not agreeing with its su#ect and of
the wrong choice of preposition. These and other errors do not interfere with communication.
Register and format are generally appropriate although occasionally the writing feels a little
informal for an essay.
Target reader
$ould e informed aout the reason for the title of The Pelican Brief and aout the
candidate%s opinion of the story.
&and '
(2)
Marks and results
Sample F(Test 3, Question 3- Competition entry)
TheBeet Teacher
What do a teacher n~ tobe the beet?
Wellfiret of all he d0e6 not only ha~ tokno about the 6ub!ect he "6teschln# but tokno a little
bit of ~ry 6ub!ect $eneral Cuitat.
%e al60 ha6 tobe patient& polite but atthe 6ame time etrict' hen (t comee todo the 6dent
not only memori)e but learn*
Theledom the be6t teacher n~e ha6 tobe of #reat +alue becau6e he (e (n char#e of a #reat
a,el#nment tolead youn# people (nto the rl#ht ay& fill ith knoled#etnoe mlnd6 that am
etartln# tolearn and toake up tothe orld*
%e n~6 toteach a6 ella6 cheml6try& ecence, srte; (lterstum& etc, he hae toteach them
moral but mom (mportant tobe human*
That-e a #ood teacher and that (e the kind of teacher ( ha~& hie name "6.(.(.(.(.(.( and he (e my
curmnt phl"060phyteacher* %e (e a mall6tlc day dmamer ho (e alayt/ lookin# for the truth and
#ood +aluee (n the orld* %e (e not only a phl"060pherteacher/ he ha~ a de#me (n 0hyt/lc~ 1oucan
talk ith him for houre about pn'tty much any 6ub!ect& he can becomeyour beet friend but he (e
your critic se ell* W(th the phra6e -2ot becau6e ( am your friend lam #oin# tolieyou- he can help
underetand your ml6takee and #ro*
%e ha6 tau#ht me the (mportance of life& the (mportance of anted tobe C3ri436all the time& to
look for aneere no matter ho ellly my 5ueetlon ie/ toee6 ~rythln# ith an ob!ect point of +ie
but al60 tobe a dmamer ae him& tobe (ma#inati+e and creati+e*
The(nfluence he ha6 on me "6of hu#e (mportance& he "6the reseon ( ant todo a Maeter on
0hllo6ophy* %e "6for me and for all the people he had tau#ht the beet teacher e+er/ 60 +otefor him
because he deeere (t*
Comments
All points addressed but not developed. Somegeneralisation at the beginning, but linked to
task.
rganisation and cohesion
Somegood attempts at organisation but over-paragraphed. !ittle evidence o" internal cohesion.
#ange
Attempt at range marred by errors.
Accuracy
Some impeding errors (e.g. He needs to teach as well as chemistry).
Appropriacy o" register and "ormat
Consistent and appropriate.
$arget reader
%ould have anegative e""ecton target reader,
&and '
(')
Marks and results
Sample G (Test 4, Question 1- Proposal)
From:
To:
SubJe:ct:
Pe:terKelle:r
M6 D. Jack60n
Prop06al on library facllftle:6
Te:a!m of tl6 report: 16 to pmeent accor"lne to te: actual library con"!tion eome 6#$#%e:6t&on6 to
!mpro'ean" make:an a"'ice:on (ic st) te: !mportant an" ne:ce:66aryne:e"6.
T I m e : an" Space:
Flrt*t of a+l, te: !!brary-6 6.t:"ule:me:an6a ere:at "le*a"'arrtaee:to te: etu"e:nt6. Ae te: !e:net of
time: It16 ope:n&6not e:nou/an" 60 many 6tu"e:rrt6 "o not ffnl6 te:lr a6!eme:nt6.
Te:n,altoue te: (ork 6pace:&6confortable:, ce:rtaln+y It16 not ple:nty of 6pace:60 Itee:t6
cro("t:" e:a6&&y.
0ea"lnean" 1atclne
Te:!lbrary a6 a (i"e:'arie:ty of book6 !n a+l te:me:6an" 6ubJect6. 2o(e:'e:r* te: 'l"t:06, tat a%
eome "ocume:ntarie:6about l6tory an" eaence, a% not re:al+yu6trl-ul. Teya% ol" an" non3up4
"att:", cau6&neannoyine rescuon) to tat. A %#e:6tt:" re:a"lneobJe:cta% 5nell6 maes6lne:6tat
a% compul60ry to certetr: proJt7t6.
Condueio
Te:mo6t !mportant tlne6 to !mpro'e:a% te: (orkplace:,(e: fe:eltat (e:nyou a'e:to "e:al (it
6tu"le:6, a6!eme:nt6, proJe:ct6,te: place: (e:%you "o It6oul" be:ae%able:, 8ule:t tat e:lp6you to
conce:ntratt:" an" iocueeayouree:lf. To6um up, te: !lbrary 6oul" a'e:a (orkplace:,a bit bleee:ran"
8ule:t.
Comments
Conte nt (points cove re d)
A re asonable atte m pt at the task. All the points are addre sse d.
Oranisation and cohe sion
Cle arl! oranise d "ith #se $#l he adins.
%ane
T he rane is satis$actor!.
Acc#rac!
&airl! acc#rate b#t e rrors are m ade "he n lone r, m ore com ple ' se nte nce s are atte m pte d. (om e
spe llin e rrors e .. it should be comfortable (not confortable) and assignment (not asigment).
Also occasionall! the "ron "ord is chose n) $or e 'am ple , it sho#ld be current (not actual)
condition and give some advice (not make an advice). Altho#h occasionall! the "rite r doe s
not choose the m ost nat#ral "ord, his m e anin is al"a!s cle ar.
Appropriac! o$ re iste r and $orm at
T he re iste r #se d is appropriate l! and consiste ntl! ne #tral.
T are t re ade r
T he tare t re ade r "o#ld be in$orm e d as to "hat the "rite r $e e ls is the m ost im portant "a! in
"hich $acilitie s co#ld be im prove d.
*and +
129
Mmlu and results
Sample H (Test4, Question 4 - Letter of application)
Dear Sir/Madam
I am writing In n:6ponee toyour announcement rt!cently pu"ll6#erdIn an l6t$ueof t#e %Dally &lanet%'
I am n:al/y (ntf:n:6ted In participating Inyour newtele)f6(*nprogramme'
To"f:gln wit# I would li+e toput forwam6,me Information a"out tny6t:/f. I am 20~rtJ oft!and I am
currently 6tudying t#e LawIn t#e un/-relty of .t#en6' I #a)e"een e!tudyingboth /ngllt0!#and 1rtmc#
einc2 I wa6 12. 3on6e4fuentlyit would "e f!l!6yfor me tocommunicate wit# t#e m6t of t#e group'
1urt#ermon: I #a)e5olnerda clim"ing team 6(nce1998 and I #a)e ta+en part in many acti)ttiee
suc# as clim"ing up mountain ,lympus twice or clim"ing up mountain 6odopi' Moreo)er7 I #a)e "een
in t#e "as+et%"all team of my #ig#%t$3#oolfor t#me yfJ/JrtJ w#en: we wen: c#amplone7 for t#me times
in t#e local c#ampion6#ip6' It te o")ious t#at my p#86lcal 9+fll9 and my "ody -ngt# an: "ound to
#elp me tosur)i)e under dffflcult otroumetence during my atay on a remotea laland'
A6far as my pert!,nallty (9ooncerned I do -Ii- t#at I am ~'Y polite and #one9t wit# people' I
#a- gn:at communicational s+fll6 and t#i6 derl)e9 from t#e fact t#at I am ueed to"e a mem"er of
dlffen:nt sports group6' Mye:perlence in clim"ing mountain ,lympu6 #ae7suppllerdme wit# a gn:at
smmount: of patience' I am alwa86 willing tooffer my #elp and e:perience tolea9%e:perlencf:d team;
mate6 and togi)e any piece of ad)ice' S#ouid "e Important'
I strongly "eli- t#at I am t#e perfect candidate for t#l6 ent#ralling tele)f6(*nprogramme' I really
Indulge rnyt!elf In "eing under dffflcuit condltlon9 supplierdonly wit# t#e Maic o"5ect6' It e7eem9to
me t#at it la an outlet for my energy'
I encloee my curriculum )itae and a p#otograp#6' I would li+e tot#an+ you in ad)ance for
con9(derlngmy appl/cation' it would "e a gn:at plf!I!6<n:for me toattend an intf:r)few and to
supply you wit# furt#er Information If n:=ulred' I am loo+ing forwam toyour prompt n:ply'
Comments
All points covered and developed.
Clearly organised into paragraphs with very good lining.
!ange
"vidence of range of voca#$lary and str$ct$re.
Acc$racy
%o&e errors, &ostly 'hen co&ple( lang$age is atte&pted (1 am used to be a member ... ).
Appropriacy of register and for&at
Consistent.
)arget reader
*ositive effect on target reader.
+and 4
1,-
Marks and results
One mark is given for each correct answer in Parts 1,2 and 3. Two marks are given for each
correct answer in Part 4. For Part 5, candidates are awarded a mark of 2, 1 or 0 for each
question according to the accurac of their res!onse. "orrect s!e##ing is required in Parts 2, 3,
4 and 5. The tota# mark is su$sequent# weighted to 40.
Paper 4 Listening
One mark is given for each correct answer. The tota# is weighted to give a mark out of 40 for
the !a!er.
For securit reasons, severa# versions of the %istening !a!er are used at each administration
of the e&amination. 'efore grading, the !erformance of the candidates in each of the versions is
com!ared and marks ad(usted to com!ensate for an im$a#ance in #eve#s of difficu#t.
Paper 5 Speaking
"andidates are assessed on their own individua# !erformance and not in re#ation to each other,
according to the fo##owing five ana#tica# criteria) grammatica# resource, voca$u#ar resource,
discourse management, !ronunciation and interactive communication. *ssessment is $ased on
!erformance in the who#e test and not in !articu#ar !arts of the test.
'oth e&aminers assess the candidates. The assessor a!!#ies detai#ed ana#tica# sca#es, and the
inter#ocutor a!!#ies a g#o$a# achievement sca#e, which is $ased on the ana#tica# sca#es.
*na#tica# sca#es
+rammatica# resource
This refers to the accurate and a!!ro!riate use of a range of $oth sim!#e and com!#e& forms.
Performance is viewed in terms of the overa## effectiveness of the #anguage used in s!oken
interaction.
,oca$u#ar resource
This refers to the candidate-s a$i#it to use a wide range of voca$u#ar to meet task
requirements. *t "*. #eve#, the tasks require candidates to s!ecu#ate and e&change views on
unfami#iar to!ics. Performance is viewed in terms of the overa## effectiveness of the #anguage
used in s!oken interaction.
/iscourse management
This refers to the candidate-s a$i#it to #ink utterances together to form coherent s!eech,
without undue hesitation. The utterances shou#d $e re#evant to the tasks and shou#d $e
arranged #ogica## to deve#o! the themes or arguments required $ the tasks.
131
Marks and results
Pronunciation
This refers to the candidate's ability to produce intelligible utterances to fulfil the task
requirements. This includes stress and intonation as well as individual sounds. Examiners put
themselves in the position of the non-ES! specialist and assess the overall impact of the
pronunciation and the degree of effort required to understand the candidate.
"nteractive communication
This refers to the candidate's ability to take an active part in the development of the discourse.
This requires the ability to participate in the range of interactive situations in the test and to
develop discussions on a range of topics by initiating and responding appropriately. This also
refers to the deployment of strategies to maintain interaction at an appropriate level
throughout the test so that the tasks can be fulfilled.
#lobal achievement
This refers to the candidate's overall effectiveness in dealing with the tasks in the four separate
parts of the $%E Speaking test. The global mark is an independent& impression mark which
reflects the assessment of the candidate's performance from the interlocutor's perspective.
Marks
'arks for each of the criteria are awarded out of a nine-point scale. 'arks for the Speaking
test are subsequently weighted to produce a final mark out of ().
CAE typical minimum adequate performance
The candidate develops the interaction with contributions which are mostly coherent and
extended when dealing with the $%E level tasks. #rammar is mostly accurate and vocabulary
appropriate. *tterances are understood with very little strain on the listener.
+,-
Test 1Key
Paper 1 Reading (1 hour 15 minutes)
Part 1
1 A 2 C 3 D 4 A 5 D 6A
Part 2
7 D 8 F 9 A 10 G 11E 12 B
Part 3
13B 14 C 15 B 16 B 17 D 18 A 19 A
Part 4
20 D 21 B 22 E 23 A 24 A 25 D 26 E 27 B 28 C 29 E
30 B 31 C 32 E 33 D 34 A
Paper 2 Writing (1 hour 30 minutes)
Task-specific Mark Schemes
Part 1
Question 1
For Band 3 or ao!e" the #andidate$s re%ort must&
' sa( ho) use*u+ the #areers #on*eren#e )as
' ma,e re#ommendations aout ne-t (ear.
C+ear+( or/anised in%ara/ra%hs.
0e%ort *ormat.
Range
1an/ua/e o* des#ri%tion and re#ommendation.
2o#au+ar( re+ated to #areers.
3nmar,ed or *orma+.
Target reader
4ou+d e in*ormed.
Part 2
Question 2
For Band 3 or ao!e" the #andidate$s arti#+e must&
' a/ree or disa/ree that *ashion re*+e#ts #han/es in so#iet(
133
Test 1Key
describe how fashion has changed since a time in the past
describe any social changes this reveals.
Clearly organised in paragraphs with appropriate linking.
Range
Fashion-related vocabulary.
Language of description and opinion.
May mix register if appropriate to approach taken by candidate.
Target reader
Would be informed and consider publishing the article.
Question 3
For and !or above" the candidate#s contribution must$
identify and describe the most popular TV programme
explain why the programme is so popular
say whether the programme deserves popularity.
NBcountry need not be named.
Clear paragraphing.
%ppropriate use of linking.
Range
&ocabulary of TV and entertainment.
Language of description" evaluation and opinion.
Appmpriacy of register and format
%ny" as long as consistent.
Targetreader
Would be informed.
Question 4
For and ! or above" the candidate#s proposal must$
outline existing facilities
explain how they could be improved.
NBcandidates must make reference to both transport and housing.
Clear organisation of main parts.
'eadings an advantage.
Letter" report or memo format acceptable.
Range
Language of description" explanation and evaluation.
Appropriacy of register and forma:
Formal or unmarked.
Target reader
Would be informed and consider the proposal.
(!)
Test 1Key
Question 5 (a)
For Band 3 or above, the candidate's report must:
outline the plot of Lucky Jim
explain why it would be a good story to study in class.
learly organised into paragraphs with appropriate lin!ing devices.
"eadings may be an advantage.
Range
#anguage of narration, recommendation and opinion.
$ocabulary related to the plot of Lucky Jim.
%ny, as long as consistent.
Target reader
&ould be informed and would be persuaded that tucky Jim would be an appropriate choice for a text to
study in class.
Question '(b)
For Band 3 or above, the candidate's essay must:
name the person whom the candidate considers the most corrupt character in The Peican !rief
explain why the candidate holds this opinion.
learly organised into paragraphs with appropriate lin!ing devices.
Range
#anguage of description, evaluation and opinion.
$ocabulary related to character description.
Formal to unmar!ed.
(ust be consistent.
Target reader
&ould be informed both about the character chosen and the candidate's opinion of him or her.
Paper 3 Use of English (1hour)
Part 1
1 A 2 B 3 * 4 B 5 A 6 C 7 A 8 B 9 D 1+ % 11D 1, %
Part ,
13 or - and
throughout
,. which
1/ a 1' for
,+ 0here ,1 on
27 of
1. so - less - two 11 are
,, much ,3 &hat
12 as
,/ such
13 during - in -
,' down
Part 3
,2 influential
33 !nowledge
,3 attention 3+ essentially 31 significance
3/ involvement 3' mysterious 3. evidence
3, awareness
31 undoubtedly - doubtless
13'
Test 1Key
Part 4
38 loose
PartS
39 slipped 40 head 42 spot 41 ran
43 he'd I he would' rather not 44 denied' having seen 45 spent fiveminutes 'looking I
searching 46 will be followed b! 4" pleasure' to take !ou on I for a 48 in spite of'
never having I having never 49 to be unable' to keep 50 to get m! passport' renewed
Paper 4 Listening #appro$imatel! 40 minutes%
Part 1
1 B 2 A
Part 2
3 C 4 & 5 & 6 B
" waterfall 8 road
order% 12 energ!
9 hot wet #in either order% 10 path 11 meat vegetables #in either
13 worried 14 '30 I 30 dollars I thirt! dollars
Part 3
15 ( 16 B
Part 4
21 ) 22 *
Transcript
+,-.l
136
17 A 19 & 18 B 20 (
23 C 24 G 25 / 26 G 27 A 28 0 29 ( 30 &
This is the Cambridge Certificate in Advanced English Listening Test. Test One.
I'm going to give you the instructions for this test. I'll introduce each part of the test
and give you time to look at the uestions.
At the start of each piece you'll hear this sound!
tone
"ou'll hear each piece t#ice.
$emember% #hile you're listening% #rite your ans#ers on the uestion paper. "ou'll
have five minutes at the end of the test to copy your ans#ers onto the separate
ans#er sheet.
There'll no# be a pause. &leaseask any uestions no#% because you must not speak
during the test.
1pause2
'o# open your uestion paper and look at &art One.
1pause2
"ou'll hear three different e(tracts. )or uestions one to si(% choose the ans#er *A%
+ or &% #hich fits best according to #hat you hear. There are t#o uestions for each
e(tract.
Extract 1
Interviewer:
Fiona:
Interviewer:
Fiona:
Interviewer:
Extract 2
Friend:
Woman:
Friend:
Woman:
Friend:
Woman:
Friend:
Woman:
Friend:
Test 1Key
You hearpart of an interview with a woman who works in retail management. Now
look at questions one and two.
[pause]
tone
So, Fiona, can you tell me about how you started In fashion retailing?
Yes, of course. After I finished university, I too a !ob with a big high street chain "I
was an assistant manager. #very wee you would see the sales figures for your
$roduct and then act on that by $lacing re$eat orders or $utting a new style in. It was
a good grounding. %owever, most of the staff had been there years and I thin I did
mae mistaes in my dealings with them " I blush now to thin of my time there. I
then moved on, after five years, to my $resent !ob.
And now you&re thining of moving u$ the ladder. %ow do you see yourself in ten
years& time?
I would eventually lie to be in senior management.
Well, before you rush off to see your line manager, I thin you need to wor out
sills you can offer em$hasising your selling $oints, showing them what you can
do. Also have you been going the e'tra mile to get things done or doing more than
what is ased of you, recently?
[pause]
tone
Now you'll hear the recording again.
[The recording is repeated.]
[pause]
You overhear a woman telling a friend a story aout a swan. Now look at questions
three and four.
[pause]
tone
So, what ha$$ened last weeend?
Well, we were taing our boat along the river, when we $assed a $air of swans,
with a nest nearby. (ne swan !ust carried on feeding, but the other one " the male
I thin " decided to come and investigate.
(h, fantastic. I&ve never seen a swan&s nest close u$. I e'$ect he was hungry.
Well, actually it was immediately obvious from his body language that he had other
things on his mind. %e was fla$$ing his wings really hard, and a$$roaching at
incredible s$eed. And I guess we&d gone too close to the nest. I&d never have done
that if I&d nown what would ha$$en.
)osh, ama*ing. I&ve never heard of swans behaving lie that before. So what did
you do? +ow lie mad?
Well, we got out onto the ban, but he followed us u$, and then stood between us
and the boat for about an houri We !ust couldn&t frighten him away.
,o, I su$$ose not. Still, I&m sure he wouldn&t have hurt you.
Are you idding? You should have seen the way he moved " swans can be really
aggressive at nesting times.
%mmm.
[pause]
tone
137
Test 1Key
Extract 3
Interviewer.
Bruce:
Interviewer:
Bruce:
Interviewer:
Bruce:
Interviewer:
Bruce:
PART 2
138
[pause]
You hear part of an interview with Bruce Loader, a successful businessan who is
tal!ing about his early life. Now loo! at "uestions five and six.
[pause]
tone
Bruce, at school, you discovered you had a natural talent for art.
Yes, I inherited my dad's gift for drawing. I wanted to do reresentational art! aint
ortraits. But every college I went to " and there were three who acceted me " all
the college tutors said, '#orget reresentational art, get a single lens refle$ 33-
millimetre camera, hit the shutter, crash, there's your icture. %ot even Rem&randt
could get that accuracy, so it's not worth it.'
And you &elieved them'
I did. That was my &iggest mista(e. I haven't ic(ed u a aint&rush since.
)ow did your father react, when you told him you weren't going to art
college'
)is face was white with rage. )e said, 'Right, that's it. You could have made
something of going to college. You won't get another chance. %ow I've got a
erfectly good *o& for you on the factory floor. You start this wee( " ta(e it or leave
it.' I said, '%o, I'm going to start a &usiness ne$t.' )e said, +ell, at your own
e$ense, then.'
)e refused to suort you any more'
That's it, and so ...
[pause]
tone
[pause]
That's the end of #art $ne.
Now turn to #art Two.
[pause]
#art Two
You'll hear an explorer called %ichard Livingstone tal!ing about a trip he ade in
the rainforest of &outh 'erica. (or "uestions 7 to 14, coplete the sentences. You
now have 45 seconds to loo! at #art Two.
[pause]
tone
I'd set oft, with my friend ,atthew Price, to sall down a little"(nown river In the
rainforest, in a homemade &oat. -ur original Idea was to go all the way &y &oat,
carrying It ast any rough &its, &ut the river was much roc(ier and faster"flowing than
we'd thought, which meant we were only covering a few (ilometres each day. Then,
suddenly, we realised that, as the river was a&out to go over a waterfall, we could go
no further &y &oat.
PART 3
Test 1Key
As I t was only a homemade thing, we decided t o abandon I t , and walk to the
nearest road. As far 88we knew, there were no villages or trading posts along the
way and, on our map, I t looked like a 100-kllometre walk
And that wak, t!vough th"ck rainfore8t wit h #$ kilos on our backs, was di%%icult
&e walked %or six days, !t was hot and we were permanently wet through, be%ore
we came to any sign of civilisation There were tlrnea when we really wondered !%
we'd ever get out o% that "ungle alive
Then, on the seventh day, we suddenly came across a pat h - not an
animal trail, but a man-made one, 80we knew there must be people living
there !t was going roughly !n the right direction, so we %ollowed I t and, at dusk,
we came to a deserted camp !n a hollow (eeerted, but not uninhabited
There was digging e)uipment wrapped !n plastic, alongside two water-%illed
holes *bv!ousty someone had been digging !n search o% gold at some time
or another
+earby, on a rough wooden t able, were some cooking utensils and a %ew other
supplies, and whoever was camping there must've been !ntending to return soon
because there was a large pot %ull o% thick soup &e couldn't !denti%y either the
strange-iooklng pieces of meat or the un%am,!ar vegetables I t seemed to be made
from, but we were in a desperate state *ver the previous seven days, we'd only
had %lour and rice to eat and, although we had plenty le%t, we were low on energy
This was our great est problem
So, we cooked up some o% our rice and decided t o have two spoon%uls %rom the
pot with !t !t was good, so we had another spoon%ul And then aoother -oon,
nothing was le%t o% our hos%s meal. A%terwards, we began to get worried People
living this sort o% li%e could be very tough, and this one could retum any minute &e
decided to make an early st art .
To show we were grate%ul, we placed 30 dollars !n the cleaned-out cooking pot .
!t was )uite a lot %or the )uantity o% %ood - !t was probably only worth 10 dollars or
so - but that wasn't the point This man wouldn't be able to pop to the supermarket
to replace the %ood we'd eaten .ut ! have no regrets because that dinner gave us
the strength to make I t the rest o% the way through the /ungle sa%ely
pause!
t one
"he recording is repeat ed.!
pause!
That's the end of Part Two.
Now turn to Part Three.
pause!
Part Three
You'll hear part of an interview with the astronaut Charles Duke, who is talking
about his trip to the oon. !or "uestions 1$ to #$, choose the answer #A, %, Cor
(0 which f i t s best according to what you hear. You now have one mi nut e to look at
Part Three.
pause!
t one
131
Test 1Key
Interviewer: My guest today Ie Char1eII Duke, one of the few people to have walked on the
moon 88part of an Apollo mission. Chartes, welcome to the studio. Have you
always been hooked on space travel?
Charles: Quite frankly, 88a kid, It'd never entered my head !here wasn't even a space
programme when I was young ... 80there weren't any astronauts.
Interviewer: "hat a#out sdence fiction films at the cinema?
Chartes: I'd seen them$ of course I used to wonder what space travel might #e Hke% #ut It
was never what you might describe as a fascination % If you follow me
Interviewer: So, how did It all come about?
Charles: It was at the &aval Academy '
Interviewer: &ot in the Air (orce?
Char1es: &o$ #ut I was a navy pilot I had fallen in love with planes and nothing else would
do. And that gave me the opportunity to start - to get selected for the astronaut
programme
Interviewer: )resuma#ly #y then they were talktng about putting rockets Into space?
Charles: A#solutely
Interviewer: And how did you find the training?
Chartes: I suppose the lunar surface training In the spacesuit was physically demanding In a
way
Interviewer: Quite uncomforta#le$ I Imagine
Chartes: Ifs not what you might epect. *nce the spacesuits get Inflated$ It gets very rigid
+ou had to fight to #end your arms and move your fingers inside the gloves
Interviewer: And how long did you spend Inside It?
Charles: Around four to fi!e hours ,ut actually$ the most chaHenging part was worrying
a#out how to handle the simulator #ecause we needed to know how to land and
then take off on the moon.
Interviewer: I don't think I could have coped with that"
Charles: I'm not sure I did #ut If you did something wrong, you were In trou#le and we often
spent eight hours a day trying to learn what to dol
Interviewer: So how did you feel when you first heard that you were actually going to the
moon?
Chartes: I suppose you're e-pecting me to say 'e-hilarated' ,ut I knew there were lots of
$%fs$ - It would happen If they didn't cancel the programme$ If I didn't get sick and 80
on. So I stopped doing all the dangerous sports I was Involved in
Interviewer: So you knew you had one chance and If you #lew It$ you wouldn't get another?
Charies: !hat .ust a#out sums It upl
Interviewer: And when you eventually got there$ what Impact did It have on you? /anding on
the moon, I meanl
Char1es: "hen we saw the moon for the first time from a#out &'00metres we recognised
the landmarks #ut$ as we got closer$ we saw that the spot we were going to land
on was very rough % #ig rocks and craters % 80we panicked a bit. And the
more we tried to manoeuvre and the closer we got, the more moon dust we
#lew out
Interviewer: #ut you landed safely?
Char1es: 0ventually$ yes "e were si- hours late Sowhen we touched down, we erupted In
enthusiasm "e shook hands and hugged each other
Interviewer: (ot an easy feat In spacesuits
Charles: [laughs] &o$ Indeed #ut attar that we had to rest for a certain period we
got outside for the very first time
Interviewer: +ou must have #een terrified
Charles: "e had no sense of fear a#out stepping off the ladder onto the moon
"e .ust .umped off and started #ouncing around like lam#s In a field In
springtime
140
Test 1Key
Interviewer: And when you saw the lunar landscape, <Id It live up to expectations?
Charles: What struck me most, apart from Its awesome attraction, was Its desolation. The
sky was J et black. You fait as if you could reach out and touch It. There were no
stars and the IU1was shining all the time.
Interviewer: And what went through your mind at that moment?
Charles The fact that It was !"untouched. The fact that nobody had ever been to that
particular spot before leapt retumlng. It was simply breathtaking.
Interviewer: And do you ha#e a favourtta memory of the mlaelon?
Charles $e%tntteJ y. It was the thing that we did during the last rnoonwaI. !e were about
six ilometres or !"from the base, and on the edge o% a big crater, 1"" metres
deep. !e had to be careful as we waled along the ridge because one slip
would have been dangerous. #uddenly we saw this huge rock. It was a long way
o%%, and there are no people or cars to $udge distances or gtve you any sense of
scale.
Interviewer: %ut you managed to get down to It?
Chan&': (ventually. It was enormous. The biggest roc anybody had ever touched on the
moon. I had a hammer and I hit a chun of It ) and It came o%% In my hand ) a
piece the si*e of a small melon.
Interviewer: A different ind of aouvenlrl &o do you thin we should go bac? !hat+s the
reason for Investing all thIe time and money In the apace race anyway?
Chartes: ,h, It+s the prime place for a scIent'Ic baae ...
(pause)
tone
(The recording is repeated.)
(pause)
That*s the end of Part Thru.
Now tum to Part Four.
(pause)
-A./ 0 Part Four
Pan +our ccmsists of two tasks. You'U hear five short ~ in which people are
talJtmg aout an oa!asiott when they c!anu i"Jto contact with a weU#knoum cekrity.
$ook at Task %ne. +or &uestions ,1 to ,-, choose from the list ' to ' what each
&%. / 0 t.n says aout coming into ccmtact with a cekrity. Now look at Task Two.
For &wstions ,1 to ()* choose from the list ' to ' the opinio,. each s+eakn gives
aout the cslerity. ,hile you "istm you must com+lete oth tasks. Y%U*.ow have
-. seconds to look at Part Four.
(pause)
tone
#peaer ,ne: I was a hotel receptionist and 1enny 2rade, the %ilm producer, came rushing In
one night to say he had a very Important meeting In the morning. 3e was 4uite
wor15ed up about It and kept stressing how #ital It was that he had an 6 o+cloc
alarm call. At the time I remember nndlng him 4uite patronising, because he
felt he must eep repeating his re4uest as if I was an Idiot. I was doing an
overnight shift and, to cut a long story short, I was having coffee before heading
home when there was a commotion by the 11ft and he came sprinting past
1/ 1
Test 1Key
swearing. I looked at my watch and It was 9.15 - It had totally slipped my mind to
wake him up.
[pause]
Speaker Two: I used to be a chauffeur ferrying around various stars to events. y most tense
e!perience was the time I took Stan "ane to the premiere of his film. The tension
began when the company gave me an address but I ended up on the other side of
"ondon# 15 minutes before I was due to pick him up. It was a complete
catastrophe. I finally fetched him# then I ended up going through red lights and
speeding# while he was panicking about being late and asking to be let out so he
could get the tube. $e went right over the top actually# as if it was the end of the
world# even though I kept telling him we%d make It on time.
[pause]
Speaker Three: I served the tennis player Tina Sherwood with lots of fruit and vegetables in a shop
in &imbledon during the tennis tournament one year. The players used to come In
and buy huge amounts of stuff to keep them going. She bought so much she was
paying by credit card. I suppose she thought she didn%t have to sign the slip
because she was so famous# but I made her do It. She looked 'uite taken aback at
the time# but after that# whenever I saw her in the street# she%d stop me to ask how
I was. I could be wrong but I reckon she realised that# no matter how famous you
are# there are still rules that apply to everyone.
[pause]
Speaker (our: I was the manager of a nightclub and one night this enormous car drew up outside
the club with an e!tremely famous rock star In the back. $is two bodyguards came
up to the door and asked if they could come in and look around. I let them in# they
checked out the club and reported back to him In the car. Then he came over and
said that he would like to come in and could I arrange to have a special area
cleared for him) *s If ... I mean# what made him think he could go to a crowded
place like that and be kept apart from everyone else)
[pause]
Speaker +ve: I served champagne and dinner at the film star "ena "eonard%s flat once. It was a
party for close family and friends and she came to the door wearing no make-up#
then disappeared for two hours while we got things ready and came back into the
kitchen looking a million dollars. I wandered around her flat pouring champagne
for her and her guests. She gave me a very generous tip afterwards# which came
as a bit of a shock because every other time I%d waited on stars they%d turned out
to be rather mean. She was 'uite ordinary - for such a mega-star - and she didn%t
seem to feel she had to put on an act or anything# she was ,ust being herself# I
guess.
[pause]
tone
[pause]
That's the end of Part Four.
142
Test 1Key
There'll now be a pause of five minutes for you to copy your answers onto the
separate answer sheet. Be sure to follow the numbering of all the questions. I'U
remind you when there's one minute left, so that you're sure to finish in time.
[Teacher, pause the recording here for five minutes. Remind your students when
they have one minute left.]
That's the end of the test. Please stop now. our supervisor will now collect all the
question papers and answer sheets.
143
Test 2 Key
Part 1
1 C 2 B 3 A 4C 5 B 6D
Part 2
7B 8 F 9 A 10 G llE 12 C
Part 3
13 D 14 D 15 B 16 A 17 C 18 B 19 B
Part 4
20 C 21 B 22A 23 E 24 C 25 B 26 A 27 E 28 B 29 A
30 D 31 B 32 D 33 B 34 C
Part 1
Question 1
For Band 3or above, the candidate's letter must:
describe the club's activities
persuade ne members to !oin"
#learl$ or%anised in para%raphs"
&rticle 'ormat"
Range
(an%ua%e o' enthusiasm"
)ocabular$ related to the cinema and to socialisin%"
&n$, as lon% as consistent"
Target reader
*ould be in'ormed and ould consider !oinin% the club"
144
Tut2Key
Part 2
Question 2
For Band 3 or above, the candidate's proposal must:
nominate one person
explain why they are important to the history of the candidate's country.
OrganisatiOlt and cohesims
Organised into paragraphs with a clear conclusion.
Range
anguage of description, opinion and evaluation.
AptJ1'OfJri4cy of register and format
!ny, as long as consistent.
Targetr
"ould be informed.
Question !
For #and 3 or above, the candidate's contribution must:
describe origins of the festival
describe what happens
give their opinion of why it is still important.
OrganisatiOlt and cohesion
$learly organised into paragraphs and using lin%ing devices.
&anp
anguage of explanation, description, opinion.
'oc:abulary related to festivals.
Appropri4cy of register and format
Target TMIkr
"ould be suitably informed.
Question 4
COIttent (points covered)
For #and 3 or above, the candidate's report must:
briefly describe O() newspaper O& maga*ine
explain what the reader could learn about the culture of the country.
(# ifcandidate describes +"O , refer to general mar% scheme
(# acceptable for candidate to use )nglish as 'their language'
$learly organised into paragraphs.
Range
The language of recommendation, justifying and explaining.
Apt"opriacy of register and format
Target reader
"ould be informed.
-./
Test 2 Key
Question 5(a)
For Band 3 or above, the candidate's review must:
name one character in the book and explain why the candidate found him or her the most likeable
comment on whether the candidate would or would not recommend Lucky Jim to other students
!learly or"anised into para"raphs with appropriate linkin" devices
Range
#an"ua"e of description, opinion and explanation
$ocabulary related to description of character and comment on a book
%enerally consistent but may mix re"isters if appropriate to approach taken by candidate
Target reader
&ould be informed both about the chosen character and the candidate's opinion of him or her
Question 5(b)
For Band 3 or above, the candidate's essay must:
brieflyoutline the plot
explain why the story is called The Peican !rief
say whether the candidate en'oyed the story or not
!learly or"anised into para"raphs with appropriate linkin" devices
Range
#an"ua"e of narration, explanation and opinion
$ocabulary related to the plot of The Peican !rief"
Appropriacy of registerand format
Formal to unmarked (ust be consistent
Target reader
&ould be informed both about The Peican !rief and about the candidate's opinion of it
Paper 3 Use of English (1hour)
Part 1
*+
*2+
2 A 3 B , ! 5 B 6 A -+ 8 A 9 A 10 0 11 B
Part 2
*3 so *, would *5 were *. who
Because/ &hen 2+ for / behind 2* settin"
25 with 2. to 2- most / more
*- bein" *0 which *1 2s / 3ince/
22 by / in 23 but / althou"h 2, there
*,.
Test 2 Key
Part 3
28 invariably
33 opinionated
29 alternatively
34 fairness
30 descriptive
35 enthusiasm
31 absence
36 unpredictable
32 observations
37 irregular
Part 4
38 dear 39 judge 40 meet 41 space 42 aid
PartS
43 there had not I hadnt been I so much 44 !as a fall I in the 45 "#uite$ a name I for
46 be "very$ grateful if I you !ould % could % 'd 47 does this bag I belong to you 48 !as not I
!asnt I a % one single 49 great difficulty I "in$ persuading 50 to have I been "any!here$
Paper4 listening "appro&imately 40 minutes$
Part 1
1 A 2 B 3 A 4 A 5 B 6 C
Part 2
7 'ultural (ociety
11 )erman artists
8 natural science 9 butterflies* birds "in either order$
12 heating 13 intimidating 14 tail
10 +ets ,nteract
Part 3
15 ' 16 B 17 D 18 ' 19 A 20 C
Part 4
21 B llE 23 ' 24 ) 25 A 26 D 27 F 28 G 29 E 30 B
Transcript This is the Cambridge Certificate in Advanced English, Listening Test. Test Two.
Im going to give yo! the instr!ctions for this test. Ill introd!ce each "art of the test
and give yo! time to loo# at the $!estions.
At the start of each "iece yo!ll hear this so!nd%
tone
&o!ll hear each "iece twice.
'emember, while yo!re listening, write yo!r answers on the $tIeStion"a"er. &o!ll
have five min!tes at the end of the test to copy &()ranswers onto the !"arate
answer sheet.
Therell now be a "a!se. Pleaseas# any $!estions now, beca!se yo! m!st not s"ea#
d!ring the test.
-pause.
147
Test 2 Key
PARTl Now open your question paper and look at Part One.
[pause]
You'll hear three different extracts. For questions one to six, choose the answer (,
! or C) which fits "est accordin# to what you hear. There are two questions for each
extract.
$xtract % You o&erhear two friends, 'ohn and (iane, discussin# holiday plans. Now look at
questions one and two.
[pause]
tone
John: So, Diane, have you finally decided to come to Hong Kong with us for a
holiday? Your flighfs reserved, we need to confirm by Wednesday.
Diane: Well, John, !ve given it some thought and it!s "retty tem"ting, but it!s not that
long since last had a brea#. don!t #now $ still haven!t come to any definite
decision.
John: %h, come on, whafs the "roblem? #now it may seem e&travagant, but you
told me you!d 'ust been given "romotionand a rise, so that can!t be an issue,
surely.
Diane: Well, ifs not so much that as my wor# situation. (a#ing another brea# so soon
after my "romotion might send out the wrong message to my team, although
thin# my line manager would understand.
John: Of course $ she #nows you!re a good wor#er.
Diane: )mm. Well, guess could em"ty my in$tray in time $ my wor#load!s not too
heavy 'ust now. fs 'ust that haven!t had much time to get the office
organised, and to be honest, one of my colleagues would "robably be only too
glad to use my absence to further his own "osition.
John: Hmmm, sounds "retty nasty to me. *re you sure you want to carry on wor#ing
there?
[pause]
tone
$xtract )
Now you'll hear the recordin# a#ain.
[pause]
You o&erhear two friends discussin# a new fil*. Now look at questions three and
four.
[pause]
tone
)an: hear Joe Schult+!s new film (he System isn!t going to be given the !,-!
certificate he wanted.
Woman: So youngsters can!t see It? !m not sur"rised. (he reviewers say that
watching the first few minutes is "retty un"leasant $ there!s a lot of
aggression.
)an: (hat didn!t seem to worry the authorities. .or did the strong language,
although there!s /uite a bit of that, but they couldn!t ta#e the little bursts of
rather tense music $ ma#es your hair stand on end, a""arentlyl
1!
Test 2 Key
Woman: Interesting. Anyway, I don't think the storyline's really suitable for young
children - too much delving into people's thoughts and mottvea.
Man: True. ou've read the book?
Woman: !h yeah. A great page-turner. I had no Idea what the final outcome would
be.
"an: !h, Iguessed. I loved the way the author uses dialect all the way through - a
bit out of the ordinary.
Woman: Takes some getting used to, but Ifs decidedly different. ou can't
really believe the #rince Is based on a real person from the past, though, can
you$
"an: I thought he did come over well, considering how little we know about people
from that era.
Woman: We'n go and see the film, won't we$
"an: %efinitely.
[pause]
Extract 3
tone
Now 'You'll hear the recording again.
[The recordin is repeated.]
[pause]
ou hear an intmJiew with the archiua Ingrid Chapman, who is talking about an
offia building she has reandy designed.
Now look at qwstioIu fie and six.
[pause]
tone
Interviewer: Inrid !hapman, tell us about this new office block.
& ngr& d: It has enormous glass walls, because transparency was paramount In the brief
Ireceived from m" clients - that gives It an airy, spacious feel inside. The
three floors all open onto a cavernous central hall, and this Is whars crucial for
me - there are so many reasons for people to meet there: have a coffee,
goaalp. dIacuaa formal m'ra In an Informal settin. Iforce them to do these
things by locating most of the services they need In this area - toilets,
photocop"in, ca", etcetera.
Interviewer: (orgive me, but there'll be company e)ecutives listening who are saying,
'Thafs all very well If you're able to design a brand new building from scratch.'
What would you say to thetrf!
Ingrid: *ommission me to come up with a scheme for a replacement, for e)ample$
+o, seriously, It doesn't re,uire much, a little creativity, thars all. -nder-used
areas can be refurbished, art hung on the walls, that sort of thing. And a
,uestionnaire can be sent to all personnel to get their reactions to any
changes you've made. .ood morale facilitates productivity.
[pause]
tone
#$%
Test 2 Key
Now 'YOM'UhMf' th~recording again.
[pause]
That's the end of Part One.
Now tumto Part Two.
[pause]
PARTTWO Part Two
You'll hear a guide taking a group of visitors around a musltUm. For questions 7 to
14, complete the sentences.
You now have 45 seconds to look at Part To.
[pause]
tone
Museum guide: Welcome to the City Museum and Art Gallery. Before e start our tour! "#d li$e
to gi%e you a &it of &ac$ground information a&out t'e place Itself.
The museum as founded in ()4* as a 'ome for t'e collections &uilt up
o%er t'e years &y t'e local Cultural +oc"ety! and is one of se%en museums
oned &y the city council. "ts collections of dinosaurs and mummies are ell
$non! and it also 'as one of Br(ta"n#stop fi%e e,'i&itions of natural science.
-nfortunately! not all areas are o.en to t'e .u&lic at t'e moment. "n t'e cellar
storerooms! for e,am.le! t'ere are! amongst ot'er t'ings! dis.lay cases full of
&utterflies! and many ot'ers full of &irds.
-.stairs! t'ere#s a section designed es.ecially for c'ildren! for t'ose of you
'o are interested! 'ere young .eo.le can dress u.! dra .ictures! and find
out a&out the museum at t'eir on .ace. "rs called #/ars "nteract# and t'ere#s
more noise t'ere t'an silence, as you mig't "magine. But e find t'is to &e a
successful ay of attracting c'ildren to museums. /ars face "t! museums in
t'e past 'a%e &een &oring! rat'er stuffy .laces for c'ildren! and "ndeed adults!
to %isit.
The .icture galleries, 'ic' e#ll be %isiting later! &oast a fine collection of
draings! .rints and woodcuts &y German artists, and t'e art collection is
arranged t'ematically! rat'er t'an c'ronologically. T'e themes e s'all see
are: colour! lig't! mo%ement! signs! and symbols.
"rs a &it cold here, "#m afraid. " do a.ologise for t'is but, "#m sorry to say! t'e
central 'eating needs a mlilion0.ound refit, 'ic' t'e city can#t afford to
underta$e at the moment. So, "f any of you are millionaires! and feeling
generous today! .lease see me after the tour1
2o! "f you ill 3ust follo me to t'e end of the Grand Colonnade! e#ll tum
rig't "nto the first e,'i&it room on t'e ground floor. 4.ause5 2o! t'is room
'ouses t'e Rutland 6inosaur. As you can see! "rs t'ree and a 'alf metres
'ig' and fourteen metres long! 7uite an "ntimidating slg'tl T'is Cetiosaurus!
as it#s called! as found in 8ngland#s smallest county "n (*9). T'e creature
lo.ed across t'e countryside (:5 million years ago! and "s the most com.lete
e,am.le of t'e &reed disco%ered to date. Most of the nec$! some of the
s.ine and a &it of t'e tall ere found "n Rutland; the rest of t'e tall is
.olystyrene. <or t'ose of you 'o .refer your dinosaurs on a muc' more
'uman scale! t'ere is a muc' smaller 2==0million0year0=(d Pilosaur o%er
t'ere.
150
PART 3
Interviewer:
Jennifer:
Interviewer:
Harry:
Jennifer:
Test 2 Key
Now, if you'd like to follow me up the stairs, we'll make our way to
the
[pause]
tone
[pause]
[pause]
Part Three
You'll hear part of a radio interview in which Harry and Jennifer, two
members of an afterwor! adult drama class, are as!ed about their reasons
for attending the class. "or #uestions 15 to $%, choose the answer &', (, C or D)
which fits best according to what you hear. You now have one minute to loo! at
Part Three.
[pause]
tone
I !ather these drama "ourses whi"h you are attendin! have really !iven you a
new lease of life Jennifer, "an you try and e#plain the fas"ination you derive
from a hard three$hour session at the "olle!e after a full day's work%
A&ove all, ea"h session is fun, it ener!ises me I a"tually !o home with more
ener!y on a Tuesday than any other day of the week The reason is 'imple, I
feel alive after the drama "lasses At first I wasn't sure if I would en(oy the
"ourse) you have to relate to the others in the !roup In fa"t most of the work is
in small !roups or at least in pairs and o&viously the natural &arriers &etween
stran!ers e#ist I "an honestly say that from the first evenin! this did not
&other me, and I'm not an e#trovert &y nature In fa"t, if anythin!, I'm rather
shy and reserved
And what a&out you, Harry%
*ell, as far as I'm "on"erned, drama "lasses have freed me, they've allowed
me to be "reative and su""essful in so many ways that I'm not, usually I
parti"ularly en(oy the sessions when we (ust "reate somethin! out of nothin!,
we improvise There is usually some time in the evenin! when we make up
either a "hara"ter or a "onversation or a situation and a"t that out with
the others The spontaneous nature of improvisation is what's so appealin! to
me
+ou "an't '!et it wron!', you're havin! a !o, that's all I mean you (ust stand up
and &e"ome another person for five minutes) perhaps you're like yourself or
totally different, that doesn't matter *hat "ounts is that you take on a new
personality, and you a"tually &e"ome that person And, sin"e you invent the
part, you "an't &e out of "hara"ter and it's impossi&le to make mistakes I
e#pe"t this will "han!e when we move onto te#t, won't it, Harry%
151
Test 2 Key
Harry:
Jennifer:
Harry:
Jennifer:
Interviewer:
PART4
152
Yes, yes, I'm really looking forward to using text in te !lasses and even"#
learning lines$ I %ust find some text fas!inating and !an't wait to really work on
it$ &f !ourse it will 'e different from im(rovisation, were we make u( te (arts
we (lay, 'ut I know you !an lose yourself in a (art, and (laying it your way is
going to 'e te !allenge$
&'viously, a s(e!ifi! (art will 'e o(en to inter(retation and a dire!tor may
want you to do it in a !ertain way$ Imagine (laying a )akes(earean ero or
eroine, well, tere are 'ound to 'e different ways of saying tose famous
lines and te a!tor or a!tress may not agree wit te dire!tor, 'ut tis is a
stage we aven't rea!ed yet$ *or te moment, it's a'out over!oming self+
!ons!iousness and learning to 'e sensitive$ ,ast week we ad a new (erson
in te grou( and it 'e!ame really !lear tat e adn't tuned in to te way in
wi! te !lasses work, you know, it was em'arrassing really, e overdid it
and tried to dominate te grou(, e didn't wait and wat! and listen$ Tis was
wen it stru!k me tat we've 'een learning to listen to ea! oter and to
res(ond a!!ordingly- and of !ourse you 'ring yourself Into it, 'ut not too mu!
and not too ina((ro(riately$
I !ouldn't agree more$ He a!tually asked me (ersonal .uestions wi! were
intrusive and !ould ave 'een saved for te tea 'reak$ I found it off te (oint
and distra!ting$ /ell, I su((ose e felt awkward too, 'ut if I've learned
anyting tis term, it's not to %um( in, 'ut to take my time and allow te oters
time 'y 'eing (atient wen tey are struggling wit, for exam(le, !reating an
unfamiliar !ara!ter$ Te grou( as to develo( togeter and te new!omer
was an outsider$ I guess it wasn't is fault, 'ut e didn't seem interested in
learning from te situation$ Tat's (ro'a'ly wat annoyed me$
I'd 'e sur(rised if e !ame again$ He didn't look !omforta'le$
/ould you say tis re!e(tiveness to ea! oter is te key lesson so far,
Jennifer0
[pause]
tone
[pause]
That's the end of Part Three.
Now turn to Part Four.
[pause]
Part Four
Part Four consists of two tasks. You will hear five short extracts in which British
people are talking about living abroad. ook at Task !ne. For "uestions 21 to #$%
choose fro& the list ' to Heach speaker's present occupation. Now look at Task
Two. For "uestions 26 to ()% choose fro& the list ' to H the &ain advantage each
speaker &entions about living where they do. *hile you listen you &ust co&plete
both tasks. You now have 45 seconds to look at Part Four.
[pause]
tone
[pause]
Test 2 Key
Speaker One: I'd often thought about living here, but my husband's work as Head of
Personnel for an engineering firm tied him to the UKand I worked in a
hospital Of !ourse, we !ame here on holiday and got to knowthe pla!e "ow
we've retired here, we don't have to go home at the end of the summer and
fa!e the harsh #nglish winter, and that's the greatest bonus without a doubt
$e're getting used to the lo!al people %hey try to help us, though we're not
profi!ient in the language yet It's not hard pi!king it up in shops and !afes,
and of !ourse there's %& too
[pause]
Speaker %wo: I was posted here three years ago 't first, I wasn't very keen on the idea of
!oming It's hardly a very !ultural pla!e, is it( )ut frankly it's grown on me I'm
*uite an outdoor person too and what I really appre!iate are the many leisure
opportunities and people with time on their hands to share them with
Obviously, the weather helps, although it's unbearably hot in +uly %he
embassy pool and s*uash !ourts are *uite reasonable and we have a!!ess to
other fa!ilities lo!ally %here are a few tournaments during the year , not very
high standard but *uite fun I've also taken up a new interest , old buildings
%he lo!al ar!hite!ture's fas!inating-
[pause]
Speaker %hree: I'd always intended to travel, do a few short !ontra!ts in faraway pla!es and
then go home to study to be a spe!ialist So I !ame here ./ years ago and
sort of stayed Initially, the work was *uite different from what I dealt with in my
surgery in 0ondon, although it's routine now It's !ertainly a good lifestyle, I
have to admit, very reasonable remuneration for the hours I have to put in, and
that's the key It allows me to put something by for my retirement and indulge
my hobbies It's a good pla!e to grow old , sports, great golf !ourses for
e1ample, if you're interested, whi!h I'm not really- 2laughs3
[pause]
Speaker 4our: I started work near 0ondon, doing a very routine 5ob, maintaining e*uipment in
a water purifi!ation plant %hen I was asked to !ome out here I wasn't keen at
first as it involved working in the mountains on a new dam I de!ided to try it
for a year be!ause the salary was a!!eptable and I thought the e1perien!e
would be useful )ut I stayed on be!ause the 5ob provides so mu!h variety I
head a team of workers now on a new pro5e!t, things I wouldn't normally get to
do at my age I live in a basi! bungalow with ama6ing views over the
plantations and ri!e fields It's great-
[pause]
Speaker 4ive: It all started when I !ame here on holiday I was wandering around the market,
looking for souvenirs and the !raftsmanship impressed me %hey're great at
!arving wood or weaving fabri!s I'd been thinking of taking early retirement,
then it stru!k me $hy not set up something of my own here( So I began in a
small way, sending lo!al handi!rafts and produ!e ba!k to small spe!ialist
shops It took off and now I supply large department stores It's hard, working
for yourself, but I love being here be!ause the lo!als are so easy to get on
with %hey'll always give you a helping hand and I feel part of things, whi!h is
great
[pause]
tone
153
Test 2 Key
154
[pause]
There'll now be a pause of five minutes for you to copy your answers onto the
separate answer sheet. Be sure tofollow the numbering of aUthe questions. I'll
remind you when there's one minute left so that you're sure to finish in time.
That's the end of the test. Please stop now. !our super"isor will now collect all the
Test 3 Key
Part 1
1 B 2 A 3 B 4 A 5 D 6 B
Part 2
7 D 8 B 9 A 10 F llG 12 C
Part 3
13C 14 A 15 D 16 B 17 B 18 D 19 A
Part 4
20 C 21 E 22 D 23 C 24 D 25 E 26 B 27 A 28 B 29 D
30 A 31 B 32 C 33 D 34 A
Part 1
Question 1
for Band 3 or ao!e" the #andidate$s re%ort must&
' ma(e re#ommendations
' )ustif* #hoi#es+
C,ear,* or-anised re%ort" %ossi,* .ith headin-s+
Range
/an-ua-e of des#ri%tion" e0%,anation" )ustifi#ation+
An*" as ,on- as a%%ro%riate and #onsistent+
Target reader
1ou,d e informed+
Part 2
Question 2
For Band 3 or ao!e" the #andidate$s arti#,e must&
' state .hether there shou,d e more or ,ess tourism in re-ion
' des#rie enefits of e0istin- tourist a#ti!it* in re-ion
' des#rie %ossi,e disad!anta-es of in#reased tourism+
155
Test3 Key
Clearly organised in paragraphs.
Range
Language of description and opinion. Vocabulary related to tourism.
Any, as long as consistent.
Target reader
Would be informed and consider publishing the article.
Question 3
For Band 3 or above, the candidate's competition entty must
! describe "hat teacher taught him#her
! e$plain ho" teacher influenced himlher
! %ustify teacher's nomination for a"ard.
Clearly paragraphed.
Range
Language of description, evaluation and %ustification.
Vocabulary related to teachinglleaming.
Any. &ay mi$ registers if appropriate to approach ta'en by candidate.
Target reader
Would be informed.
Question 4
For Band 3 or above, the candidate's revie" must
! specifyand describe t"o "ebsites
! assess the user(friendliness of the sites
! e$plain "hy these sites are useful for students.
Clear organisation "ith appropriate paragraphing. )*B letter format is acceptable.+
Range
Language of description, evaluation and comparison#contrast.
Vocabulary related to studying and "ebsites.
Appropnacy of register and format
Target reader
Would be informed.
Question ,(a)
For Band 3 or above, the candidate's article must
! recommend Lucky Jim as a good story for a film
! e$plain "hy the candidate thin's it "ould ma'e a good film.
156
Test 3Key
Clearly organised into paragraphs with appropriate linking devices.
Range
Language of description, opinion and explanation.
Vocabulary related to stories and films.
Generally consistent but may mix registers if appropriate to approach taken by candidate.
Target reader
Would be informed and would be persuaded that Lucky Jim might make a successful film.
Question S (b)
or !and 3or above, the candidate"s essay must#
$ outline the role of politics in The Peican !rief
$ comment on whether the candidate feels such events could happen in real life.
Range
Language of narration, evaluation and opinion.
Vocabulary related to the plot of The Peican !rief and to opinions of events in the story.
Consistently formal to unmarked.
Target reader
Would be informed both about the role of politics in The Peican !rief and about the candidate"s opinion
as to the realism of such events.
Paper 3 Use of English (1 hour%
Part 1
& C ' (
&'(
3 C 4 A 5 A 6 B 7 C )( 9 B &( C &&(
Part 2
&3 as &* every" any &+ for" by" from" through
&, yet" but" although" though -./ while '( &(
'* than '+ whether" either '0 your" an
&0 who" that
'& are '' what
'1 which
&1 over &) to
'3 flow
Part 3
') kingdom ', unspoilt 2unspoiled 3( enthusiasts 3& practical 3' colourful"
colorful 33 ha3ardous 3* undertake 3+ unfortunately 30 sustainability
31 re4uirements
Part 4
3) operate 3, point *( material *& released *' make
&+1
Test 3 Key
PartS
43 account should Ithis / the door be (kept) 44 condition I(that) it is hard to 45 far as I
punctuality is concerned 46 for a great / good deal I of patience 47 was only I when / after
48 no support I from 49 (of things) to offer I in 50 prevent it I (from) becoming / being OR
prevent its I becoming / being
Paper 4 Listening (approximately 40 minutes)
Part 1
A 2 C
Part 2
! envelope
3 laser
Part 3
15 B
Part 4
21 B
Transcript
PART 1
Extract 1
5"
3 A 4 B 5 A 6 C
" fort
4 ink
# legal 0 transportation computer vision $ wax
16 C 17 A # % 18 D 20 B
22 F $3 & $4 ' $5 % 26 G 27 A $" ' 29 E 30 &
This is the Cambridge Certificate in Advanced English Listening Test. Test Three.
I'm going to give you the instructions for this test. I'll introduce each part of the test
and give you time to look at the uestions.
At the start of each piece you'll hear this sound!
tone
"ou'll hear each piece t#ice.
$emember% #hile you're listening% #rite your ans#ers on the uestion paper. "ou'll
have five minutes at the end of the test to copy your ans#ers onto the separate
ans#er sheet.
There'll no# be a pause. &leaseask any uestions no#% because you must not speak
during the test.
(pause)
'o# open your uestion paper and look at &art (ne.
)pause)
"ou'll hear three different extracts. )or uestions one to six% choose the ans#er *A%
B or C) #hich fits best according to #hat you hear. There are t#o uestions for each
extract.
"ou hear t#o colleagues% Eva and Colin% talking about a problem at #ork.
'o# look at uestions one and t#o.
Test 3 Key
[pause]
tone
Eva: So the thing is, you aren't getting on with our new boss then, Colin?
Colin: She's just so different from her predecessor. I mean, John used to get us all
involved in the decisionma!ing process.
Eva: "o chance of that with Sandra, you thin!?
Colin: "o wayl #$, I grant you, she's got some good ideas she moved pretty fast
to get us all to agree to individual jo% descriptions and a proper timeta%le,
none of which we've had %efore and we should have had. &nd she's done her
homewor! on the staff profile, our 'ualifications and past e(perience and so
on ...
Eva: As you'd e(pect.
Colin: )es. *ut she doesn't seem aware of the atmosphere here ifs the way we've
always done things. I just don't feel I can wor! with her.
Eva: I'd say she's just finding her feet in a new jo%, and she'll soon get the hang of
what we're all a%out. +et's focus on how much she's already achieved. I
wouldn't let any%ody tell you ifs a trivial issue, though. If she doesn't settle in
soon, and you stili have issues with her, I thin! you should approach her
direct.
Colin: #$, than!s, Eva.
[pause]
Extract 2
Interviewer:
E(pert:
Interviewer:
E(pert:
tone
[pause]
You hear an interview with an expert who repairs antique vases. Now look at
questions three and four.
[pause]
tone
Show me how you do it. Isee you've got trays and trays of pieces here.
)es, you have to find the %its that match, so I've put all these tiny pieces
into colour groups red here, %lue over there. Ifs a %it li!e doing a jigsaw,
really. *ut at least there are no stains to remove. &ll we have to %e aware of
is the enamel on the surface, that we have to lift all the dirt and grease off.
If you don't, the pieces won't go %ac! together again, ifll fall apart. If the
crac!s are going to show, they've got to %e really clean, otherwise they'll loo!
messy.
)ou want the crac!s to show? Some people would say that's terri%le, for such
a valua%le vase.
-ell, yes, they pro%a%ly would, %ut something that's %ro!en so e(tensively as
this, If you cover all the crac!s up you're really ma!lng a fa!e. *eing %ro!en is
something that's happened to it in its lifetime, which should %e recorded, and
as long as you can restore it so that aesthetically it still wor!s, it shouldn't
matter that the crac!s show ...
[pause]
159
Test 3 Key
tone
Extract 3
[The recording is repeated.)
[pause]
On the radio, you hear a visitor talking to a man about the remote island where he
lives. Now look at questions ive and six.
[pause]
tone
Woman: This is such an unusual place because there's no public transport to the island
- I came here in your fishing boat. The result is a paradise - rich marine life,
unspoilt countryside. Yet you want to let the world in - you've campaigned to
start up a ferry service from the mainland. Why?
an: There isn't enough wor! to support our population. If visitors come to the
island - and we have a lot to offer them - catering for them would create
employment. "lso our young people would be able to commute to #obs on the
mainland.
Woman: $on't you thin! it's ris!y? These beaches could be covered with holiday
houses and hotels% your visitors will complain because there are only a few
shops. "nd a ferry service won't be enough. &eople will want to fly here, and
you'll have to build an airport. 'o more paradisel
an: We can build a small airport without impacting on our (uality of life here, and it
ma!es economic sense. )ur shops can cope with more people on the island -
it'll be seasonal anyway. "nd why would we build on the beaches? It'd be
cra*y.
Woman: I hope you're right.
[pause]
tone
[pause]
That's the end o !art One.
Now turn to !art Two.
[pause]
&"+T, !art Two
"ou'll hear a short radio re#ort about how technology is hel#ing archaeologists who
want to learn more about some texts written over $,%%% years ago known as &oman
tablets. 'or questions 7 to 14, com#lete the sentences. "ou now have 45 seconds to
look at !art Two.
[pause]
tone
160
Test 3Key
Man: At the time of the Roman Empire in Europe, around 2,000 years ago, it was
common for information to be written, not on paper, but on things called
'tablets'. These were pieces of wood about the sie and thic!ness of a typical
modem en"elope.
#undreds of such tablets ha"e been unearthed from archaeological sites
throughout Europe and the Mediterranean world $ nearly 200 were found in
one Roman fort alone $ and li!e most of these disco"eries, they ha"e been
placed in public collections, mainly in museums in northem Europe, to be
"iewed but not, unfortunately, to be read.
This is because, although %n some cases traces of writing can still be seen,
most are now illegible to the na!ed eye. &ut thafs all soon to change because
archaeologists hope that with the help of new technology, their secrets may
soon be re"ealed. Many of the tablets too! the form of legal documents and
letters written by Roman soldiers. An e'ample, now at the &ritish Museum,
bears the name of the person who wrote it and the name of the person who
recei"ed it, plus the word 'transportation', which you can (ust ma!e out, but the
rest remains a mystery. )ow, with the help of computer techni*ues, e'perts
hope e"entually to be able to read the whole letter. +rofessor Mi!e &rady, a
leading figure in whafs !nown as 'computer "ision' for many years, admits that
this is the hardest pro(ect he's e"er wor!ed on. &ut the e'citement of seeing
the latest ideas in computing applied to such a "ery ancient problem has the
archaeological community buing.
So, in simple terms, why has the writing been preser"ed and how will it be
possible to 'undo' the ageing process, -ell, the tablets were made with thin,
hollow panels cut across them. -a' was poured into these and the te't was
then written into this soft surface using an instrument with a fine metal point. %n
"irtually all cases, the wa' has perished and all that can be detected on the
surface of the tablet underneath are scratches. These are too faint to be read,
because they are distorted.
.or some time, scientists ha"e attempted to study them with laser
photography, but this has pro"ed fruitless. #owe"er, it is now hoped that by
enhancing images of the tablets on computer, their original messages will
become legible again. %f this %s the case, a whole new source of historical
information will be opened up, and this promises ad"ances and new
!nowledge for many decades to come. The new technology has already been
used on te'ts in in! as well, and in the Mure, %t will be applied to damaged
surfaces of many !inds.
[pause]
tone
[pause]
[pause]
161
Test 3 Key
PART 3 Part Three
You'll hear an interview with an architect called Lucy Collett who designs small
buildings. For questions 15 to 20, choose the answer (A, B, C or D) which its best
according to what you hear. You now ha!e one minute to loo" at Part Three.
[pause]
tope
Interviewer: I'm sitting here, rather uncomfortably, with designer Lucy Collett. Lucy, you're
an architect really, but an architect with a difference.
Lucy Collett: Yes, I specialise In small buildings.
Interviewer: And we're in one of your buildings now. Ifs a tree-house, and we're perched
on chlld-sle seats, two or three metres above the ground.
Lucy Collett: In fact, I was commissioned to design this house by my neighbours for their
children. I don't li!e heights, but I loved the challenge of weaving the house In
amongst the branches. You can see there are several storeys with stairways
between them.
Interviewer: I'd have given anything for a house li!e this when I was a child. "hat started
you off on this type of design#
Lucy Collett: I've always had a passion for small buildings. $lay houses, of course, when I
was a little girl. Then I found a boo! about historical telephone bo%es, which
fascinated me. "hen the telephone was an amaing new Invention, money
was poured Into the designs of public phone bo%es. &hey were all sies and
styles. &here were some that loo!ed li!e rustic cottages, with thatched roofs'
others li!e Chinese pagodas' one li!e a sort of (ree! temple. )ome were *uite
lu%urious, with chairs, and people used to go In there to play cards. +ut It didn't
last long' they had to be standardised and made more practical.
Interviewer: You went to architecture school. ,ld you !now you were going to wor! on this
small scale#
Lucy Collett: Yes, my final year pro-ect was on small buildings in an industrial conte%t. If you
loo! at ma-or building sites, they're dotted around with huts and temporary
buildings. You thin!, '&hey put up these tin bo%es for the wor!ers to drin! their
tea and read their newspapers In. "hat Is there to that#' "ell, they've all got
to confor to safety standards, and why shouldn't they have some style as
well# I designed them to loo! better, and also to be put up and dismantled
mora *uic!ly. I wor!ed on durability of materials, comfort and so on.
Interviewer: "here did you get your inventiveness from#
Lucy Collett: I don't !now. I thin! I'm more practical than inventive. .y parents were mar!et
stall holders. &hey had a really cumbersome stall which too! them forever to
put up. All the mar!et people started setting up about four o'cloc! in the
morning. It was freeing, bac!-brea!ing wor!, and it drove me mad when I had
to help them. I was visiting some clients abroad a few years ago, and saw
some brilliant stalls In their local mar!et. &hey were little metal folding houses,
completely waterproof and enclosed, with plenty of display room. At the end of
the day you could loc! them up with the goods safe inside, or you could fold
them flat and cart them off to the ne%t town. I did drawings of them and made
one when I got home. +ut I haven't sold It.
Interviewer: "hat have you done that you're most proud of#
Lucy Collett: I suppose everything I've done is a variation on a theme, so it's hard to pic!
anything out. +ut I did get an award. &he /ewspaper )ellers' Association gave
1!2
Interviewer:
Lucy Collett:
Interviewer:
Lucy Collett:
Interviewer:
PART4
Test 3 Key
me a prize for a design I did for street comer kiosks - you know t!ose cute
little "uildings wit! display windows on t!ree sides# $ine were in strong
steel painted wit! domed roofs and lots of decorative detail# I must admit I
was particularly pleased wit! t!e fancy work and t!e newspaper people
loved it#
%ave you ever done any p!one "o& designs since t!at was w!at started you
off'
(unnily enoug! t!at)s w!at I)ve *ust "een doing# (or an international !otel
c!ain# T!ey)d stopped putting pu"lic p!one "oot!s in t!eir !otel lo""ies
"ecause of mo"ile p!ones "ut t!ere were complaints from a few countries
w!ere mo"iles !adn)t really caug!t on yet# +o t!e !otel decided to make a
"ig feature of lo""y p!one "o&es# I did t!ese sort of glass "ird-cage designs
wit! "rass work and over-t!e-top telep!ones# ,ow t!e company)s putting
t!em in all t!eir !otels and people are going into t!em to make calls on
t!eir mo"iles# It)s sort of retro-style lo""y furniture#
And tree-!ouses'
,o t!is is a one-off# I)ve told you I)m scared of !eig!ts#
-kay# +!all we let down t!e ladder and go !ome' T!ank you Lucy#
[pause]
tone
[The recording is repeated. I
[pause]
[pause]
Part Four
Part Four consists of two tasks. you'll hear five short extracts in which people are
talking about problems related to their work. Look at Task ne. For !uestions "#
to 25, choose from the list A to H the problem each person encounters. Now look at
Task Two. For !uestions 26 to $%& choose from the list A to H each person's current
feeling. 'hile you listen you must complete both tasks. (ou now have 4. seconds to
look at Part Four.
[pause]
tone
+peaker -ne: T!e weird t!ing is t!at up to /uite recently I used to really love "eing in t!e
t!eatre "usiness so it never seemed muc! of a !ards!ip eaming ne&t to
not!ing and !oldingmeetings in an office t!e size of a s!oe"o&# 0ut some!ow
over t!e past year t!e gloss seems to !ave worn off a "it# And now I)ve realised
I)m*ust "eing taken for granted I feel as t!oug! my spirit)s "een "roken- it)s
awful# I don)t "lame anyone for it - we)ve !ad no actual rows - "ut I won)t put up
wit! it# It won)t "e easy entering t!e *o" market all over again t!oug!#
[pause]
163
Test 3Key
Speaker Two: Normally I'd say I thrive on deaclines and pressure from clients, but it does all
build up, and recently I've been prone to fairty severe headaches In the office.
Don't get me wrong - I'm fine outside wor!" I can chili out with the best of
them. #ut I do have a lot on my plate, as you'd e$pect at my level In the
company, and It's probably too much to handle, If I'm honest, especially with
my current pro%ect. I can't walt to see what happens when I Implement my new
tlme"management plan at wor!.Ifs hardly rocket science, but I'll be
devastated if It doesn't wor!.
[pause]
Speaker Three: The thing that finally made me flip was being told to move Into a new office
which was patently unsuitable for the pro%ect I was working on. That was on
top of a whole series of other ridiculous demands. So the trouble was, It %ust all
came to a head, and the people in charge simply refused to take responsibility
for It. &e had a number of bitter e$changes, and I ended up seething with
rage. I still feel that way. #ut I'm determined not to %ust accept It, although I
have no idea what I should do about It. It all happened so fastl 'ou can bet I
won't be leaving though because I love the wor!.
[pause]
Speaker (our. I'm rapidly reaching the end of my tether. I haven't lost my cool with a
customer yet but It'll happen soonl Ifs %ust too much, being e$pected to run my
department without a reliable flow of data. )y line manager's been very
supportive, I'll give her that, and she's been on at the technicians to sort It out.
So I've done my bit, but nothing's happened yet. And the final straw is when
I'm deluged with supposedly helpful emalls from other departmental heads,
about how to copel &hat do they know about it? They go on and on about
how disastrous It is, as If It's my faultl *uckily I've got a great team under me.
[pause]
Speaker (I+e: &ell, I'm not sure what my options are. She's got such a bee In her bonnet
about this Internal promotion that you %ust can't reason with her, so I haven't
tried to talk her out of It. I really don't want to get her Into trouble by reporting
her to management for that row yesterday " It would ruin morale in the office. I
suppose in the end we might both get a small pay rise and a new %ob title. If
she Isn't satisfied with that, and I have a feeling she won't be, I'll have to raise
the whole issue with the boss, and let him resolve It.
[pause]
tone
[pause]
There'll now be a pause of fiw mimdes for you to copy yot,' - onto ~
~ answer sheet. Be sure to follow the numbering of aUthe questions. 'll
remind you when there's one minute left! so that you're sure to finish in time.
1!
Test 3Key
[Teacher, pause the recording here for fiveminutes. Remind your students when
That's the end of the test. Pleasestop now. Your supervisor will now collect all the
165
Test 4 Key
Part 1
1 B 2 D 3 B 4 C 5 D 6 D
Part 2
7D 8 B 9 G 10 C llA 12 F
Part 3
13B 14 A 15 C 16 A 17 B 18 A 19 D
Part 4
20 D 21 B llD 23 C 24 A 25 B 26 C 27 D 28 A 29 D
30 B 31 A 32 C 33 D 34 B
Part 1
Question 1
For Band 3or above, the candidate's proposal must:
e!plain "h# improvements are necessar#
outline ho" $acilities could be improved
(more able candidates "ill $ocus more e$$ectivel#on tar%et reader's re&uirements)'
Clearl# or%anised into para%raphs "ith suitable lin(in% devices'
)eaded sections ma# be an advanta%e'
Range
*an%ua%e o$ e!planation and su%%estion'
+ocabular# related to learnin% $acilities'
Formal to unmar(ed'
Target reader
,ould be in$ormed'
Part -
Question 2
For Band 3or above, the candidate's article must:
166
Test 4 Key
discuss advantages and/or disadvantages of increased use of technology in field of communication
give reasons for views.
Range
Language of opinion.
Vocabulary related to technology and communications.
Any, may mix registers if appropriate to approach taken by candidate.
Target reader
ould be informed.
Question 3
!or "and # or above, the candidate$s contribution must%
describe how important public transport is in hislher country
explain why people are willing/unwilling to use it
suggest ways public transport could be improved.
&eadings appropriate.
Range
'ransport(related vocabulary.
Language of description, explanation and suggestion.
!ormal to unmarked.
Target reader
ould be informed.
Question 4
!or "and # or above, the candidate$s letter of application must%
explain why they want to participate
explain why they should be chosen with reference to skills and personality.
Clearly organised in paragraphs with appropriate linking.
Range
Vocabulary related to character.
Language of persuasion.
Target reader
ould be informed and consider the candidate$s application.
Question )(a)
!or "and # or above, the candidate$s essay must%
167
Test 4 Key
discuss how Jim's attitude to work influences his actions
say whether the candidate does or does not sympathise with his actions.
Range
Language of description, evaluation and opinion.
Vocabulary related to attitudes towards work.
ormal to unmarked.
!ust be consistent.
Target reader
"ould be informed both about Jim and about the candidate's opinion of him.
Question #(b)
or $and %or above, the candidate's article must&
describe the role played by the 'bad guys' in The Pelican Brief
comment on how the candidate feels they add to the e'citement of the plot.
Range
Language of narration, evaluation and opinion.
Vocabulary related to the plot of The Pelican Brief and to commenting on a story.
!ay mi' registers if appropriate to approach taken by candidate.
Target reader
"ould be informed both about the book and about the candidate's opinions of the role of the 'bad guys'.
Paper 3 Use of English (1hour(
Part 1
1 B 2 D
)* C
3 C 4 A 5 B 6 A 7A 8 B 9A )+ C 11B
Part *
)% which )4 that )# not I hardly
), however I though *+ one *) to
*# a *- less *. because
)- its ). would I could )/ on
00 1t I 0n *% like *4 with I having
Part %
*/ e'istence
%% increasingly
%. intensity
*, civilisations Icivili2ations %+ reliably %) performer3s( %* variety
%4 standardi2ed I standardised %# addition %- significantly
Part 4
%/ field %, held 4+ felt 4) change 4* dropped
168
Test 4 Key
PartS
43 on the point Iof leaving 44 to work as Ia volunteer 45 is I has been scheduled I to take
46 you notify us I of any 47 lack I absence of (any) I leadership that caused 48 of her I decision
to 49 cut down (on) I the amount I quantity 50 no I little time I (in) starting Igetting started
Paper 4 Listening (approximately 40 minutes)
Part 1
1 A 2 B 3 B 4 6 B 5
Part !
" apples # (plastic) tunnel $ wax
%! %!years I twelve years %3 &weetheart
Part 3
%5 ' 16 A
Part 4
!% ( 22 C
Transcript
PART 1
Extract 1
%0 balloon %% )n
%4 (cherry) stone
17 C %# 19 D !0
!3 ' !5 * 28 G 29 C 30 A 24 E 26 E 27 D
This is the Cambridge Certificate in Advanced English, Listening Test. Test Four.
Im going to give you the instructions for this test.
Ill introduce each !art of the test and give you time to loo" at the #uestions.
At the start of each !iece youll hear this sound$
tone
%oull hear each !iece t&ice.
'emember, &hile youre listening, &rite your ans&ers on the quesi!n paper+ %oull
have five minutes at the end of the test to co!y y!n" #$I%$&e&"% onto 'e se!arate
IIIISWer .beet.
Therell no& be a !ause. (leaseas" any #uestions no&, because you must not s!ea"
during the test.
,pause-
)o& o!en your #uestion !a!er and loo" at (art *ne.
,pause-
%oull hear three different extracts. For #uestions one tosix, choose the ans&er +A, , or
C- &hich fits best accordingto &hat you hear. There are t&o #uestions for eachextract.
%ou hear !art of a radio discussion about a football team. )o& loo" at #uestions
one and t&o.
,pause-
tone
169
Test 4 Key
Woman:
Man:
Woman:
Man:
extract 2
Interviewer:
Deanna:
Interviewer:
Deanna:
Interviewer:
Deanna:
Interviewer:
Deanna:
Interviewer:
Deanna:
170
So is John Elliott a player you like to watch? I'm guessing he is.
es! he's e"cellent! very technical! clever with the #all$ he's goo% at passing the
#all to the team's top goal scorers an% setting them up to shoot. When he sees
that &inal pass coming as he approaches the goal area! you get a lot o& players
who get there #ut then &ree'e an% get erratic! #ut he's not one o& them. So i& you
can get him #acking up the strikers! he can #e the key player.
(n% what a#out their new man! Danny Martine'? Seven million they pai% &or him!
they've pro#a#ly overpai%. )ot very cautious given that they've pai% out this kin% o&
cash #e&ore an% it all went wrong! %i%n't it? *hey'll want to hang on to him come
what may! at that price . . .
es! well! it hasn't #roken the #ank! #ut they were overcharge% &or him. *hey
pro#a#ly thought he was a goo% investment + he's young! they can sell him on i&
things go wrong! &or more money. *hey got their &ingers #urnt once over a similar
%eal! an% they won't want it to happen again.
[pause]
tone
[pause]
You hear part of a radio interview with Deanna Carriconde, who has just won a
prize for her environental wor! in "outh #erica. Now loo! at $uestions three
and four.
[pause]
tone
,ongratulations! Deannal
*hanks very much.
Were you surprise% to win?
,ompletely-
)ow you're trying to save a wil%li&e ha#itat that stretches .!/// kilometres along
the coast o& South (merica. (ren't you %aunte% #y that?
It's a huge task #ut we're #asically getting the message out: the local &ish
population + mainly anchovies + are #eing &orce% into col%er water #ecause the
sea's warming up. 0& those le&t! 12 per cent are #eing scoope% up #y in%ustrial
&ishing trawlers so pre%ators like seals! penguins an% %olphins + an% local
&ishermen + are le&t with very little. )ow this is the richest ecosystem in the worl%.
I& it's starting to #e a&&ecte%! you know there must #e a tremen%ous impact on
other less ro#ust systems.
So what's your relationship like with local &ishermen?
*hey use% to regar% me as an enemy #ecause I use% to work &or seals! an% as
you know! &ishermen an% seals compete &or the same &ish + #ut now they see me
as an ally trying to control in%ustrial &ishing.
What + stopping them scooping up anchovies?
)ot stopping them! #ut getting them to catch less$ which means the local
&ishermen can catch more o& the large &ish that &ee% on the anchovies.
[pause]
Test 4 Key
Extract 3
tone
Now 'You'Uhear the recording again.
[pause]
You hear part of a radio programme about boolu and reading. Now look at
quations fie and six.
[pause]
tone
Nell: Today we're talking about books that have Inspired us, books that have made a
difference toour lives. Each of my studio guests has chosen what for them was an
Important book and first off we're going to hear about Monica Nalm's choice
Monica
Monica: Thanks, Nell !ell the thing about this book Is that when I first discovered It In my
late teens "It was a birthday present, If I remember correctly - I'd never really
read anything like It before I'd heard about It from a friend, and I'd got the Idea It
was something special and 80I asked for It specIftcaIly I think I was about 17 80I
was a falrty late developer as a reader I hadn't been particularly Interested up tin
then, but It suddenly sort of took a grip I think It was the strangeness of that book#
I mean !t"s the one I'd take with me toa desert Island because $fs %ust got
everything In It and It # ust opened me up towhat pleasures there are in description,
In narrative, you know In Ideas
Nell: !ell, we'll discover e&actly which book my ne$t guest has chosen
[pause]
tone
Now 'You'llhear the recording again.
'The recording is repeated.]
[pause]
That's the end of !art "ne.
Now tum to !art Two.
[pause]
()*T + !art Two
You'll hear part of a radio programme about cherries# small fruit which grow on
trees. %or questions 7 to 1& complete the sentences. You now hae &' seconds to
look at !art Two.
[pause]
tone
!hen I visited a number of fruit farms in central ,ngland, I found broad
agreement among most of the growers that these days It makes sense to move
away from their traditional crops such as apples and into cherries Instead (ow
in summertime, they have orchard after orchard of beautiful trees, heavily laden
with bright red fruit
171
Test 4 Key
PART 3
172
UK cherry growers tend to choose the varieties which ripen slowly. This fruit
may command a higher price because the harvest Is not so eariy, and there are
always reliable buyers for It. Research is currently being carried out into ways of
improving yield. A maor obstacle to efficient production Is the fact that growth may
not be consistent from season to season. !ometimes the fruit only grows as big as
a pea, and then drops to the ground.
"uite a few of the smaller trees are covered up against the rain and wind, In a
plastic tunnel. #lder, larger trees have to ta$e their chance out In the open, but
cherries are a delicate fruit, and optimum weather conditions are needed to achieve
the potential yield of five tonnes per hectare. The surface of the fruit has very little
wa% on It, so cherries need to be $ept out of the rain as much as possible, because
the s$in is liable to crac$ when water gets Into It. If this occurs, the crop may be lost,
because the fruit bursts wtth a pop, rather li$e a balloon.
&hen you're selecting the best cherries to buy, don't get them If they loo$ at all
tired or wrin$led, and buy the ones with a green stem. (ou'll find they taste much
better than ones without.
People often as$, ')ow long does It ta$e to get a decent crop from a cherry
tree*' &ell, there are new varieties, laden wtth fruit, that are only four years old,
but If you go bac$ and read the old frult+growtng te%tboo$s from the ,-./0, they tell
you cherries don't give a worthwhile crop till they're ,1 years old. !ome varieties
go on cropping till they're -/,
There are three new varieties which have recently been Introduced by growers.
'!ymphony' and '!taccato' are both highly successful so far, but '!weetheart' Is
being planted in larger numbers than either of them and loo$s to be a real winner.
2ust one problem If you go cherry pic$ing this summer + how do you stop
yourself eating them all* #ne e%pert who's been pic$ing all her life told me, '3at a
cherry, suc$ the stone and $eep it on your tongue + it stops you putting any
more InI' That way you end up with at least a handful of this delicious fruit In your
bas$etl
[pause]
tone
[pause]
[pause]
Part Three
You'll hear a radio interview in which an artist called Sophie Axel is talking about
her life and career. or !uestions 15 to "#$ choose the answer %A$ &$ C or D)
which fits best according to what you hear. You now have one 'inute to look at
Part Three.
[pause]
tone
Interviewer:
Sophie:
Interviewer:
Sophie:
Interviewer:
Sophie:
Interviewer:
Sophie:
Interviewer:
Sophie:
Interviewer:
Sophie:
Interviewer:
Sophie:
Interviewer:
Sophie:
Interviewer:
Sophie:
Interviewer:
Sophie:
Interviewer:
Sophie:
Interviewer:
Sophie:
Test 4 Key
So here we are today in the artist Sophie Axel's - em - amazingly colourful
home!
Do you mean shocingly colourful! "ou don't have to be polite!
#ell$ it was %uite a surprise when you opened the front door&
'hat's how it's meant to (e$ really& A huge impact of colour on the senses& )lectric
pin$ (rilliant (lue and yellow for the hallway - in fact all the walls in the house are
different colours& It's so stimulating&
So would you say colour is the most important thing in your life$ Sophie!
A(solutely& It's in me& I don't pay any conscious attention to it$ it's who I am$ what I
have grown up with& It's lie an intemal microchip& *or me$ every num(er and
every day has a colour+ when I sleep$ I even dream in colour& And I associate
people with colours too&
I won't as you what mine is! I noticed (efore that you've even got rain(ow stairs&
,h$ the children adore them - it's their favourite place to play&
'hey're %uite small$ aren't they! "ou're not worried a(out them falling!
-o - they're as sure-footed as goats$ even the (a(y! .ife is never without danger& I
/ust leave them to it and they develop confidence at their own rate$ as children
should& 'hey need to find themselves - specially if they're going to follow the
family's artistic tradition&
"ou mean your family are artists too!
-ot as such$ (ut we're all very creative$ specially the female side of the family& 0y
grandmother was an actress - she's still alive+ and my mother and aunt are
fumiture designers - for %uite famous intemational companies actually&
So when you get together &&&
,h$ there's no stopping us! #e're all very expressive in words$ in clothes$ in the
environment we create in our homes&
*amily gatherings must (e something!
,h$ you're right there! #hen it comes to events such as festivals and (irthdays$ we
dress up$ find the (est presents imagina(le and then wrap them magnificently -
oh$ It's so exciting - and we have huge parties& 1ut there's awful pressure to do
something unusual too and even more pressure from people around& *or example
on 2osa's third (irthday &&&
'hat's your daughter!
"es &&& I made a set of puppets to put on a show for her friends from playgroup& It
too me days& Immediately their parents ased me to put on shows for their
children's (irthdays too& And so it goes on&
And is 2osa creative as well!
,h$ yes$ she adores painting& 0y mother came to stay recently and I found them
(oth in the early morning chatting away a(out the colour of sunrise& 'here they
were$ grandmother and granddaughter$ taling a(out colour as if they were
a(solute e%uals&
3uite an unusual topic! So let's tal a(out your own life a (it& I suppose you were a
star student at art school -
,h$ you couldn't (e more wrong - I was a total flop& At that time there was no
interest in design& It was all introspection and gloom and doom$ and I /ust couldn't
be moulded in that way& So I too off &&&
4terally!
#ell$ nothing too exotic& I went to wor as a coo in a local hotel& I used to cycle
there and the pay was so low that when I got a puncture I /ust couldn't pay for the
173
Test 4 Key
Interviewer.
Sophie:
Interviewer.
Sophie:
PART 4
repair. So I offered the man In the bike shop a poster advertising his repair service,
instead of money.
Did he accept?
Yes - in the middle of the picture was this completely flat tyre and someone who
saw it asked if he could use it to advertise a national charity bike ride.
hat must have given you a boostl
Yes, I had several important poster commissions after that, Including some for
health education. I!ve had some other lucky breaks too. I designed some giftwrap
for a stationery company, and a woman phoned who!d been given a book wrapped
in my paper. She was an author and asked me to Illustrate her book of fairy
stories, so thars how I got into publishing. In tact I!m "ust finishing a children!s
activity book that I!ve actually written and illustrated myself ...
[pause]
tone
[The recording is repeated]
[pause]
Part Four
Part Four consists of two tasks. You'll hear five short extracts in which people
are talking about touris. !ook at Task "ne. For #uestions 21 to 25, choose fro
the list A to H each speaker's occupation. Now look at Task Two. For #uestions
$% to &'( choose fro the list A to H each speaker's ai for the future. )hile
you listen you ust coplete both tasks. You now have #$ seconds to look at Part
Four.
[pause]
tone
Speaker %ne: Increased numbers of visitors would of course be a great benefit to the locality. &y
worry Is though whether we have the infrastructure to cope. I!m not really
concemed about the bed and breakfast sector. here!s a certain amount of slack
in the system. 'ut what about transport? he railway line was removed twenty
years ago and the centre gets choked up with cars as it is In the summer, all
(ueuing to go through the narrow mediaeval gateways which are a great photo
opportunity but a nightmare for through traffic. )aturally the pollution levels are
rising now from traffic fumes. *einstating the railway connection would get my vote
but it won!t be easy.
[pause]
I think there are some wonderful places to visit around the country and Irs my "ob
to try and Include them in our publications, particularly for our profitable e+port
market. 'ut irs all a bit piecemeal, isn!t it? ake accommodation, for e+ample.
here are some pockets of e+cellence with great places to stay, run by friendly
staff and serving interesting regional food. 'ut you should see the pile of
Speaker wo:
174
Test 4 Key
correspondence we receive from disappointed tourists. It's generally about the
mismatch between price and quality. It's very hard to know what to recommend
when we have to update our accommodation sections, especially in London.
Quality across the board, that's the way forward I
[pause]
Speaker hree! "ell, I think we really need to aim to try to get as many tourists as possible. #ut,
we should start focusing on different groups. $ne of our key tasks has always
been to gather information from overseas markets and feed it back to local tourist
organisations throughout the country here so that they can develop products that
suit. %urrently we're thinking of marketing certain regions to the more mature,
higher spending travellers who could come outside the summer holiday period, in
order to e&tend the main tourist season. hese travellers are primarily people who
love historical buildings, gardens, walking and other activities which can be done
in the spring and autumn.
[pause]
Speaker 'our! I think tourism can bring benefits if handled wisely. $ne scheme which is close to
my heart is the regeneration of the rural economy. #y promoting traditional crafts
and setting up visitor'S centres to see these in action, it would be possible to go
quite a long way. #ut we need to consider the wider issues. 'or instance, what
means of transport are all these people going to use to get here and where are
they going to stay( %an we encourage only those who do the least damage( I fear
that won't happen as short)term considerations always win. *eople fall to
understand how difficult It is to reverse damage to our surroundings.
[pause)
Speaker 'ive! In this business you can't stand still. "e've done a lot to make the inside attractive
and informative over the years, set up educational displays about everyday life five
hundred years ago, redecorated the bedroom where Queen +li,abeth slept in
-./0. "e also restored the eighteenth)century kitchen to its former layout and we
do cooking demonstrations for schoolchildren. his year It's the outside. I want to
encourage families to pay to see our e&tended garden and ,oo and the
demonstrations of archery and mediaeval combat. o be profitable we really do
need visitors to stay longer and spend more money in the gardens, shop and
restaurant.
[pause)
tone
[pause)
There'll now be a pause of five minutes for you to copy your answers onto
the separate answer shut. Be sure to follow the numbering of all the
questions. I'll remind you when there's one minute left. so that you're sure to
finish in time.
175
Test 4 Key
176
That's the end of the test. Pleasestop now. Your supervisor will now collect all the
Sample answer sheet: Paper 1
Instructions
21
2 22
Use a PENCIL (0 or HOI.
3 23
Marl<ONE letter for each
4 24
question.
5 25
For example, if you think
is the ri!ht ans"er to
6 26
the question, mark your
7 27
ans"er sheet Hkethis#
8 28
_t'
9 29
10 30
0
11 31
12 32
$u% out any ans"er you 13 33
"ish to chan!e usin! an
14 34
eraser.
15 35
16 36
&' 37
18 38
19 39
20 40
(# III I I )'oos
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I*...... UNIVERSITY o f CAM BRIDGE
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Candidate Answer S,heet
13
Part
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14
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15
16
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18
19
20
21
22
23
24
25
26
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Part 1
A B c
2
A B C
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A B C
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A B C
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The Cambndqe Learner Corpus ((lC)@
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