C A M B R I D G EE X A M I N A T I O N S , C E R T I F I C A T E S & D I P L O M A S

English as aForeign Language

CAECERT IF ICATE IN ADVANCED

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

Section APart 1

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Section B

Part 2

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Section CPart 3

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Alternative task

Part 4 (multiple choice task)

You will hear five short extracts in which different people are talking aboutperformances that they have been to. For questions 26 - 35, choose the correctoption A, B or C.

You will hear the recording twice.

26 The concert was unusual because the musicians didn’t use

A microphones.B instruments.C a stage.

27 In talking about the concert, the speaker says she

A hadn’t heard that kind of music before.B hadn’t really liked the music.C hadn’t understood the music very well.

28 What does the speaker say about the concert?

A The musicians were very old.B The songs were too unfamiliar.C The sound quality was poor.

29 The audience were

A appreciative.B dissatisfied.C inattentive.

30 What does the speaker say about the theatre?

A It had recently moved.B It was overcrowded.C It was unusually small.

31 The play was spoilt because the actors

A forgot their lines.B were unenthusiastic.C had too much make up on.

42 At the start of the concert, the speaker was surprised by the number of

A people who arrived late.B people he recognised.C female performers.

43. What section of the orchestra did the speaker find disappointing?

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32 At the start of the concert, the speaker was surprised by the number of

A people who arrived late.B people he recognised.C female performers.

33 What section of the orchestra did the speaker find disappointing?

A the violinsB the brassC the drums

34 The acrobatic acts were

A impressive.B alarming.C repetitive.

35 How did the speaker feel at the end of the performance?

A She didn’t realise it was so late.B She felt it should have ended earlier.C She would have preferred an evening ticket.

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PA P E R 4 TA P E S C R I P T

Part 1

Presenter: Sharks have had a bad press but, even thoughsome of them do possess rows of razor sharpteeth, some of them aren’t dangerous at all.This afternoon Paul Barker, author of the best-selling novel Monsters, which was later madeinto a film, explains how he feels about them.

Paul Barker: When I wrote Monsters more than twentyyears ago, I knew it was doomed to fail. Forone thing, it was a first novel, and everyoneknows that no-one reads first novels! Foranother, it was a first novel about fish - notexactly a crowd-pleaser. And finally, I knewfor certain no-one could ever turn the bookinto a movie: no-one could hope to catch andtrain a real great white shark, and thetechnology of the day wasn’t advancedenough to build a replacement. So much forwhat I knew! When Monsters, the book andthe movie, became monsters in their ownright, I was left to wonder why. What hadtransformed a simple story into a world-widesuccess? The answer, of course, was in theanimal. Sharks have been objects of fascination andhatred for more than 3,000 years; ever sinceman first ventured into the sea. They’ve beenvillains in literature almost since the dawn ofthe language. They’re the masters of theenvironment man sprang from and where he’salways felt like an outsider. And, as such,they do make convincing villains, huge andmenacing. At least, that’s the traditional imageof the shark, but it’s clear that we’vemisjudged them. They’re marvellousexamples of evolutionary perfection. They’rewonderful creatures with extraordinarysensory powers, and they play an importantpart in maintaining the balance of nature. Infact, they should much more properly beregarded as victims. Some species, includingthe great white, are thought to be in danger ofextinction, thanks to over-fishing.Fortified with this new knowledge, when Irecently set out to write a new tale of the sea,I was faced with a problem: what, or who, tocast as the enemy of my shark-scientist hero? Icould not, in all conscience, choose ananimal. For I believe that evil is non-existentin the animal world. Aggression, yes.Violence, of course. But evil? No. So, who’sthe villain? Man! That’s the creature I believeto be the most vicious and destructivemonster in the sea!

Part 2

Curator: It’s particularly good to welcome you all hereboth in your capacity as interestedprofessionals - your interest is very heartening- and as the very first group of experts tocome here since the £2.5m refurbishment ofthe gallery, which was completed only lastmonth, as you know. The whole plan was conceived nearly fiveyears ago when I first took over as curatorhere, but it took three years to raise the twoand a half million pounds we needed, andwork on the project itself lasted somefourteen months. What has resulted is atransformation of the main gallery, with farbetter natural lighting now in this maingallery; two new galleries, the Wessex andSpithead; a passenger lift from street level -which was a lamentable omission before -and a comfortable new restaurant, where youcan get meals all day. This has proved a hitwith local people who come here to eat nowin their lunch break, then stroll round lookingat a few pictures before going back to work.We have also introduced cassettes giving acommentary in ten languages. As I say, wehave two new galleries, the Wessex, wherewe always display the top forty items in thecollection as selected by local citizens everytwo months - maybe schoolchildren or artstudents, or something like that, and these‘citizens’ choices’ as we call them are put ondisplay with their comments and reasons.Then in the other new gallery, the Spithead,we try always to have something importanton loan. At the moment we have a loanexhibition which is from Spain - quitemagnificent. And, of course, in the old MainGallery we rotate the best of our owncollection up to 1920 or thereabouts and,finally, in the Solent Gallery we show modernart. There is some debate whether we shouldcontinue the division between the pre-1920 art in the Main Gallery and post-1920 in the Solent, and I’d welcome yourviews on that one. Now someone asked about funding. Weactually get nothing from government, butwe’re very indebted to local author JaneSmithson. Jane Smithson was an art lover whogenerously endowed the gallery and enabledus to assemble one of the finest collectionsoutside London. That’s all I have to say by way ofintroduction, so if you’d like to come withme.....

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Part 3

Interviewer: Well, I have with me today two peoplewho’ve written books about the same man,the novelist Raymond Rennie; his officialbiographer, Dorothy Horseman, and hisunofficial biographer, Brian Feltham. Now,Rennie wrote; ‘If anyone tries to write abiography of me, how complicated they aregoing to find it, how misled they are going tobe’. Brian, was it complicated?

Brian: Very much so. An unofficial biographer isespecially vulnerable, but part of the fun ofthe chase is discovering all the false leads.Rennie’s trail is superbly difficult to follow.Here was a man who kept two diaries, eitheror both of which might have misled, but whocouldn’t resist salting his fiction with realnames and biographical facts.

Interviewer: Well, Dorothy, you were the officialbiographer, your project had Rennie’s officialblessing, what help did you get from himwhen he was alive?

Dorothy: Not a great deal. What he did for me wasthis, he said, ‘Dorothy, if you want to see me,you can see me. If you want to see me often,you can see me often. I will see you whenyou want to see me.’ And he also went onand said that, ‘I will not tell you everythingDorothy, but if you ask me a question, I willtell you the truth.’ And I believe he did justthat.

Interviewer: And, of course, you had an enormous amountof help by having access to his letters.

Dorothy: Help? Since I’ve now got something like twoand a half tons of them, it doesn’t alwaysseem like help. Sometimes, I feel as thoughI’m drowning.

Interviewer: Well, Brian doesn’t have that problem, nothaving access to any private papers. You hadto, shall we say, extrapolate from what is inthe fictional and what is in the publicdomain. How much of your work in this area,do you think, is accurate and how much isyour surmise which you would like to betruthful because it makes good reading?

Brian: No, it’s incorrect to say I haven’t had accessto Rennie’s private papers. In fact, both ofthese biographies are based on the samemajor collections of papers, most of whichare open to scholars. Over a thousand lettersand a huge collection of various otherdocuments are available. When I makeallegations, I make them on the basis of manyof the same documents as Dorothy has used,as well as, of course, interviews withhundreds of people who knew Rennie,including his wife, who spoke to me at greatlength.

Interviewer: And did you feel that you were getting at onetruth, that there was one Raymond Rennie, orwere you on the track of a number ofRennies?

Brian: Well, my job was made more difficult byDorothy, in fact, it seems to me ethicallywrong to have an official biographer who hasexclusive access to some of the material. Ithink that’s a real problem for people who seebiography as history. It’s not one person’sprovince to have a culturally important figureas her sole preserve. It should be open toother people in order to start a good healthydebate on the subject. If Rennie’s importantenough, several people should be working onhim.

Interviewer: Umm ... what do you say to that, Dorothy?Dorothy: The fact remains that this is always done, you

have official biographers and the same ruleshave always applied. I see why this should bechanged, but it hasn’t happened yet. Brian’sbook, however, doesn’t tell me anythingabout Rennie that I didn’t already know, it’sjust that he’s selected different data on whichto build his biography. It’s a matter of what,amongst all that material, you regard asrelevant, as adding to our understanding ofthe man.

Brian: And that’s exactly my point. That’s why weshouldn’t have an official biographer, itshouldn’t just be one person’s view.

Interviewer: And there, I’m afraid, we’ll have to leave it forthe moment. Brian, Dorothy, thank you bothvery much indeed.

Part 4 (Multiple Matching task)

1 Well, it was very different when I was at school.Oh yes. Where I went, we were always taught tokeep ourselves neat and tidy, not like theseyoungsters nowadays. I mean, you should see theriffraff who live in our street walking past eachday. Long greasy hair, shirts hanging out, kickingtin cans along the pavement.... oh dear, oh dear.More discipline at home and school, that’s whatthey need.

2 I tell you, it’s a dog’s life. Up and down to theboiler room, turning the heating on and off. Iwish they’d make their minds up! And then it’stime to move a few hundred chairs for someexam or other. You’d think those young rascalscould move the odd chair themselves, wouldn’tyou? And do I get a word of thanks? Not likely!Ah well, no rest for the wicked, I suppose. Justoff to replace a broken window. The little....

3 It’d be alright if we didn’t have so much extrawork. I mean, the lessons are quite interesting.Sometimes. Well, not very boring anyway. But

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3 This was an interesting experience. For a start,the theatre was in Pelman Street. Now I’vewalked up and down that street many times, butI never realised there was a theatre there. It wasvery intimate - it only holds a maximum of fortypeople. The show was a big success up inLondon last year, huge audiences, butunfortunately only a handful of people turned upfor the performance here. I’m not surprisedthough - it was rather amateurish. They couldhave done with using at least a bit of make-upand learning their parts better. They relied oncovering up their mistakes by really throwingthemselves into their characters.

4 This was one of the few classical concerts that Idecided to go to. As I sat there in the audiencewaiting for the performance to begin, I spottedquite a few of my colleagues who I hadn’trealised appreciated that type of music. We satthere for quite a while because the concert wasdelayed for some reason. When the orchestrafinally trooped in I noticed that one of thetrumpeters was Mary Brownlow whom I’d beento school with. I was amazed because I neverrealised she was at all musical. But then Iremembered that she did play the drums whenshe was younger and I think her brother playedthe violin. Unfortunately, Mary did not play verywell and made quite a few mistakes, especiallyin the first piece.

5 Well I thought I’d go to the circus. My friend hasa couple of kids who were keen to see it andthey invited me along. I quite enjoyed it really,even though it tied up the whole afternoon.There were no animals, just clowns, acrobats,people throwing burning sticks in the air - youknow the kind of thing. I think the acrobatsmade the greatest impact. They must trainincredibly hard to achieve such levels of fitness.The whole show lasted a couple of hours whichwas about right, but I think we would have goneto a later show if it hadn’t been for the kids.

the assignments and projects just go on and on.You never seem to get to the end of them. I thinkit’s seriously affecting my football.

4 You see, it all boils down to one thing. Thesedays, pupils have a choice. All my staff do theirbest in the classroom and I have everyconfidence in them, but at the end of the day it’sup to the individual pupil to decide whether heor she is going to do the homework, or revise forthe exam, or learn anything at all! We can’t forcethem. It simply doesn’t work. No, what we haveto do is much more difficult. We have to makethem want to learn. No easy task, believe youme!

5 I just hope they’re going to push her enough. You know what I mean, at that age they’re in a dream half the time, thinking about make-up or boys or something. At her last school theysaid she needed to spend more time on herhomework. What’s more, her report didn’t lookall that good to me. I’ll have to speak to her formteacher about it next time I see him - I don’t getthe impression he’s particularly concerned.

Alternative Part 4 task (Multiple Choice)

1 A friend of mine phoned up at the last minuteand asked me if I wanted to go to this show. Itwas being put on by a group of South Africansingers who were touring this country for fourweeks. My friend had heard they were brilliantand this would be the last chance to see thembefore they returned home. Well when wearrived what struck me most was that the stagewas completely bare, apart from a fewmicrophone stands. And when they started, itwas incredible. I’ve never really heard anythinglike it before. They just stood and sang and allthe orchestral noises like drums and violinsounds they just made with their voices. I wascompletely spell-bound from the beginning toend....

2 I’d been looking forward to this show for a longtime. I used to be a big fan of James Hoppermany years ago. I was hoping he’d do all theold familar songs and I think the rest of theaudience were too. The thing was, the rest of theband was completely out of time. They just keptlosing the rhythm and some of the old songswere almost unrecognisable. It didn’t help thatyou couldn’t hear his guitar very well and all ofthe voices were a bit distorted. But the audiencecouldn’t get enough of it. They shouted theirheads off - cheering and clapping. I was a bitdisappointed though....

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PA P E R 4 L I S T E N I N G A N S W E R K E Y

Part 1

1 first/1st novel (about fish)/(about a fish)2 into a movie/film

as a movie/filma movie/film

3 caught/captured (and) trained4 simple story5 fascination (and) hatred/hate6 (the) balance of/in (the) nature7 over-fishing8 evil9 man

Part 2

10 £2.5m(illion)11 14/fourteen months12 better/improved (natural) lighting13 (passenger) lift14 local citizens/people15 modern art

post-1920 art16 (a/an/the) local author/art lover

Part 3

17 (very) complicated/complex/intricate18 (2/two) diaries19 tell her everything20 the truth21 letters/private papers22 private papers23 Rennie’s/his wife24 exclusive access25 should/could/need/have to be changed

need changingshould/could/need to/have to change

Part 4Multiple matching

26 B27 A28 F29 E30 G31 C32 G33 B34 H35 E

Part 4Multiple choice

36 B37 A38 C39 A40 C41 A42 B43 B44 A45 C

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PA P E R 4 L I S T E N I N G A N S W E R S H E E T