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MODEL TEST - GENERAL TRAINING IELTS
(Time: 90 minutes)

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Section 1

Script:

You will hear a woman – Paula phoning her friend – Ralph about the application form to the local council for money for the drama club.

Ralph: Hello?

Paula: Ralph, it’s Paula.

Ralph: Hi.

Paula: You know l told you we could apply to the local council for money for our drama club... I've got the application form here but we need to get it back to them by the end of the week. I could send it on to you - you really ought to fill it in as president of the club but I don't know if it’ll get to you in time.

Ralph: Well, you're the secretary, so I expect it's OK if you fill it in.

Paula: Yeah… but I'd really like to check it together.

Ralph: Right. That's fine.

Paula: Like the first part asks for the main contact person - can I put you there?

Ralph: Sure.

Paula: Right. So that's Ralph Pearson... and then I need your contact address, so that's 203 South Road, isn't it?

Ralph: No. 230…

Paula: Sorry, I always get that wrong... Then it's Drayton... do you think they need a postcode?

Ralph: Better put it - it's DR6 8AB

Paula: Hmm mmm, OK ... telephone number that's 01443 586098 isn't it?

Ralph: Yes.

Paula: Right Now, in the next part of the form I have to give information about our group ... so, name of group, that's easy, we’re the Community Youth Theatre Group, but then I have to describe it. So, what sort of information do you think they want?

Ralph: Well, they need to know we’re amateur, not professional actors... and how many members we've got what's that at present - twenty?

Paula: Eighteen… and, should we put in the age range, that's 13 to 22?

Ralph: No, I don't think we need to. But we'd better put a bit about what we actually do ... something like 'members take part in drama activities’.

Paula: Activities and workshops?

Ralph: OK.

Paula: Right. That's all for that section I think.

Paula: Now, the next bit is about the project itself what we’re applying for funding for. So first of all they need to know how much money we want. The maximum's £500.

Ralph: l think we agreed we’d ask for £250, didn't we?

Paula: OK. There's no point in asking for too much we’ll have less chance of getting it. Then, we need to say what the project ... erm, the activity is.

Ralph: Right so we could write something like ’to produce a short play for young children'.

Paula: Should we say it's interactive?

Ralph: Yes, good idea...

Paula: Right... I've got that. Then we have to say what we actually need the money for...

Ralph: Isn’t that it?

Paula: No, we have to give a breakdown of details, I think.

Ralph: Well, there’s the scenery.

Paula: But we’re making that.

Ralph: We need to buy the materials, though

Paula: OK Then there's the costumes.

Ralph: Right. That's going to be at least £50.

Paula: OK. And what else ... oh, I just found out we have to have insurance ... I don’t think it'll cost much, but we need to get it organised.

Ralph: Yes ... I’d forgotten about that, and we could be breaking the law if we don’t have it Good thing we've already got curtains in the hall, at least we don’t have to worry about that.

Paula: Mmm. We'll need some money for publicity otherwise no one will know what we’re doing.

Ralph: And then a bit of money for unexpected things that come up - just put ’sundries' at the end of the list.

Paula: OK, fine. Now the next thing they want to know is if they give us the grant, how they'll be credited.

Ralph: What do they mean, credited?

Paula: I think they mean how we’ll let the public know that they funded us... they want people to know they've supported us, it looks good for them.

Ralph: Mmm. Well, we could say we'd announce it at the end of the play. We could make a speech or something.

Paula: Hmm, they might prefer to see something in writing we'll be giving the audience a programme, won't we - so we could put an acknowledgement in that?

Ralph: Yeah, that's a better idea.

Paula: OK. And the last thing they want to know is if we've approached any other organisations for funding, and what the outcome was.

Ralph: Well, only National Youth Services and they said that at present funds were not available for arts projects.

Paula: Right. I'll put that and then I think that's it. I'll get that in the post straight away I really hope we get the money.

Ralph: I think we've got a pretty good chance hope so anyway. Thanks for doing all this, Paula.

Paula: That's OK See you soon… Bye.

Ralph: Bye.

Complete the form below. Write NO MORE THAN THREE WORDS AND/OR A NUMBER for each answer.

Council Youth Scheme Application for Funding for Group Project
Example	Answer
Name	Ralph Pearson
Contact address	(1)……………… Drayton DR6 8AB
Telephone number	01453 586098
Name of group	Community Youth Theatre Group
Description of group	amateur theatre group ((2)…………… members)
	involved in drama activities and (3)………………
Amount of money requested	£ (4)………………
Description of project	to produce a short (5)……………… play for young children
Money needed for	• (6) ……………… for scenery
	• costumes
	• cost of (7) ………………
	• (8)………………
	• sundries
How source of funding will be credited
acknowledged in the		(9)……………… given to audience
Other organisations approached for funding (and outcome)
National Youth Services		money was (10)………………

workshops programme/ program insurance materials/material not available/unavailable 250 230 South Road interactive 18 publicity

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Section 2

Script:

OK, now we run a program of exhibitions through the year, so I'll tell you about the next few. Our current exhibition. Local Lives, ends on 26" August, and then one called History in Pictures starts on 28" August. This includes all sorts of objects and experiences from the past, such as farm machinery and some cars. We're sure children will love the chance to have a ride on an old bus. Next, we're running a show called People at Work, and this will open on 19^th September. There will be pictures and videos depicting all sorts of jobs, from coal mining to flying planes. And there's a careers advice service available for everyone to consult. Following on from that show, we're putting on an exhibition called Land from Air. This starts on 11^th November and includes hundreds of aerial photographs. A competition accompanies the show, with the exciting prize of a balloon trip for two. So, we hope to see you at least one of the exhibitions.

Complete the table below. Write NO MORE THAN THREE WORDS AND/OR A NUMBER for each answer.

HOLLYLANDS MUSEUM & EDUCATION CENTRE

EXHIBITION	STARTING DATE	POINTS TO REMEMBER
History in Pictures	(1)………	opportunity to go on an old bus
(2)………	19^th September	visitors can use (3)……… service
(4)………	11^th November	competition prize: (5)……… for 2 people

People at Work Land from Air careers advice balloon trip 28th August

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Script:

Now, the area occupied by Hollylands is rather large, and we don't want people to get lost, so I'll just give you a few pointers to help you orientate yourselves. So, whether you come by car or bicycle, you'll come in from the road. Cars then park to the left, through the gates into the car park, and bikes to the right, through the gates opposite. Cyclists in particular might be feeling thirsty at this point, and you can get a drink from the machine at the end of the bike park, halfway to the museum entrance. You can enjoy your drink in the picnic area, which is opposite the car park. For anyone who doesn't have a mobile phone, there are payphones at the far end of the picnic area. Over at the opposite end of the picnic area, across the path, are the toilets. Next to them, and just to the right of the entrance to the main museum, is the first aid room, which we hope you won't need, but it's there in case you do. If you have any queries, please go to the manager's office, which is behind the picnic area. And, last but not least, you'll need to buy your tickets or show your group pass to the ticket office on the left of the museum entrance. OK, I'll pause there - are there any questions at this point?

Label the plan below.

drinks machine first aid room telephones

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Section 3

Script:

Hideki: So let’s have a look at it in more detail. Oh, goodness - if we do Pharmacology then we have to do a supplementary Maths course.

Caitlin: Oh no - that’s not fair. Mind you, I think I need it. Does that mean we have twice as many lectures?

Hideki: No, this Maths is only a short course. The Chemistry department are responsible and they do it in the third term. So we’ve got all next term to settle into the Pharmacology bit.

Caitlin: I find the tutor makes a real difference - some of them make Chemistry so easy and some of them I can’t understand at all - like that one we had from Oxford University. Mind you, the one on this course should make sense because he’s a lecturer who’s coming in for a few weeks from industry so at least it’ll be linked to the real world!

Hideki: Yeah. The project we have to do on this pharmacology course is huge and it doesn’t give us much time. We have to make a decision about what we want to do on the project as soon as we start in January, and then hand in our plans before the end of the month!

Caitlin: Doesn’t give us much time to sort out what’s possible or not. I mean, doesn’t the scale of our project depend on what resources we can have, like what equipment we can use?

Hideki: I suppose so, though I think there’s plenty available. For example, it says that if we need to do any experiments, then we can use all the equipment in the new lab, as long as we book it.

Caitlin: Oh, OK. It’s slowly beginning to take shape for me. I think it’ll be a good course. I’m just worried that I get enough support to do it.

Hideki: I think you’ll be OK. And the tutors are always available if you get stuck.

Caitlin: Actually it says that if you’re not sure, then, in December, they’ll be running one or two additional seminars - so I might go to those.

Hideki: Actually, what’s quite interesting is that at the end of the course, when our project is completed, then we have to do a presentation on it. I think that’s quite good practice.

Caitlin: Bit scary though!

Hideki: Well, it shouldn’t be too bad as they say that we can do it in pairs. Spread the load, as it were!

Caitlin: Oh, good. I have done presentations before but I’m always very nervous. And is the presentation what we’re assessed on then?

Hideki: Let me look .... um .... Ah. it says that we have an interview and we get a mark for the whole course depending on how well we do in that.

Caitlin: Right ... (fade) ...

Complete the sentences below. Write NO MORE THAN TWO WORDS for each answer.

industry pairs an interview / interview 3rd/third term new lab / new laboratory plans seminars

- The Maths course will run in the .
- The tutor for Pharmacology is visiting from .
- for the project must be submitted by the end of January.
- Resources for experiments are available in the .
- Extra will be held in December.
- Students are allowed to do presentations in .
- Course assessment will be based on .

Section 4

Script:

You will hear a psychology undergraduate describing the research she is currently doing on expertise in creative writing.

For my short presentation today, I’m going to summarise the work I’ve done so far on my research project: to explore expertise in creative writing. Essentially, I’ll share with you the process I underwent to gather my interim findings.

First of all, I should give a little relevant background information about myself - before I started my current degree course in cognitive psychology, I studied English literature and, as you can imagine, this meant I spent a great deal of time thinking about the notion of creativity and what makes people develop into successful writers. However, the idea for this research project came from a very specific source - I became fascinated with the idea of what makes an expert creative writer when I read a well-known twentieth century writer’s autobiography. I won’t say which one, at this stage, because I think that might prejudice your interpretation! Anyway, this got me thinking about the different routes to expertise. Specifically I wondered why some people become experts at things whilst others fail to do so, in spite of the fact that they may be equally gifted and work equally hard.

I started to read about how other researchers had explored similar questions in other fields. I began to see a pattern - that those studies which involved research in a lab were too controlled for my purposes and I decided to avoid reading them. I was quite surprised to find that the clearest guidance for my topic came from investigations into what I call ‘practical skills’ such as hairdressing or waiting tables. Most of these studies tended to use a similar set of procedures, which I eventually adopted for my own project.

I’ll now explain what these procedures were. I decided to compare what inexperienced writers do with what experienced writers do. In order to investigate this, I looked for four people whom I regarded as real novices in this field - which proved easy ... perhaps unsurprisingly. It proved much harder to locate people with suitably extensive experience who were willing to take part in my study. I asked the first four to do a set writing task and as they wrote, to talk into a tape-recorder . a technique known as ‘think aloud’ . this was in order to get experimental data. Whilst they were doing this, a research assistant recorded them using video - I thought it might be helpful for me in my transcriptions later on. I then asked four experienced writers to do exactly the same task. After this, I made a comparison between the two sets of data and this helped me to produce a framework for analysis. In particular, I identified five major stages which all creative writers seem to go through when generating this genre of text. I think it was fairly effective but still needs some work ... so I intend to tighten this up later for use with subsequent data sets.

I then wanted to see whether experienced writers were actually producing the better pieces of writing. So I asked an editor, an expert in reviewing creative writing, to decide which were the best pieces of writing. This person put the eight pieces of work in order of quality - in rank order - and, using his evaluations, I was then able to work out which sequence of the five stages seemed to lead to the best quality writing.

Now my findings are by no means conclusive as this point ... I still have a long way to go but if any of you have any questions, I’d be happy to answer them and ...

Complete the flow chart below. Write NO MORE THAN TWO WORDS for each answer.

EXPERTISE IN CREATIVE WRITING

novices/beginners practical skills autobiography English literature sequence/order lab/laboratory experimental video framework editor

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Passage 1

Passage 2

Common Childhood Infectious Diseases

CHICKEN POX

Signs and symptoms: May start with a cold, headache or sickness. High temperature. Small red spots, first on body, then face and limbs, which turn to yellow blisters, then break.

Incubation Period*: 10-20 days.

Isolation Period: 7 days after last spots appear.

Nursing and Treatment: Bed rest. Relieve itching with calamine lotion. Try to stop child scratching (may need cotton mittens) to prevent further infection and scars. Keep child’s nails short and clean.

Special Points: One attack usually gives immunity for life. No vaccination is available.

MEASLES

Signs and symptoms: Loss of appetite, high temperature. Sneezing, running nose, dry cough and watery eyes. Blotchy pink spots on neck, forehead and cheeks, spreading to body later.

Incubation Period*: 8-14 days Isolation Period: 5 days after rash appears.

Nursing and Treatment: Bed rest until temperature falls (about 7 days). Sleep and plenty to drink. Shield eyes from strong light.

Special Points: Measles can sometimes cause complications affecting ears, eyes, lungs, joints, or nervous system. Babies should be vaccinated between 1 and 2 years. Free vaccination is available.

MUMPS

Signs and symptoms: Swelling below ears spreading to face or neck. Pain when chewing or swallowing. Rising temperature.

Incubation Period*: 14-28 days.

Isolation Period: 10 days from onset of swelling.

Nursing and Treatment: Bed rest until temperature falls. Bland food and drink—avoid sharp tasting foods like orange or lemon drinks.

Special Points: Avoid contact with older boys or men, who may develop infection of the testicles (can, though rarely, cause sterility). Vaccination is available.

RUBELLA (German Measles)

Signs and symptoms: Slight temperature, sore throat, runny nose and headache. Small red flat spots spreading into blotches. Swollen tender glands at back of neck.

Incubation Period*: 14-21 days.

Isolation Period: 7 days after rash appears.

Nursing and Treatment: Bed rest in warm room for 2 or 3 days.

Special Points: Avoid contact with pregnant women, because it can harm their unborn baby. Free vaccination is available; usually given to girls in Year 7 at school.

WHOOPING COUGH

Signs and symptoms: Starts as an ordinary cold. Dry repeated cough with ‘whooping’ sound as breath is taken in. Vomiting.

Incubation Period*: 8-21 days.

Isolation Period: 3 weeks after coughing stops.

Nursing and Treatment: Continuous nursing; doctor may prescribe an antibiotic or cough medicine.

Special Points: Can be very serious in young children, if they have not been immunised. Free vaccination is available.

The schedules given in this booklet are for guidance only and are subject to variation according to medical advice.

(*) Time from contact to appearance of symptoms.

Complete the summary of the information given in the Special Points sections of the reading passage. Using NO MORE THAN THREE WORDS choose your answers from those sections of the reading passage.

complications pregnant women immunity for life

SUMMARY OF SPECIAL POINTS
Vaccines are available for all the major common childhood infectious diseases, with the exception of chicken pox. However, once a person has had chicken pox, they usually have .

Further are associated with several of these childhood diseases. For example, the ears, eyes, lungs, joints, or nervous system can be affected by measles. Mumps is particularly dangerous for an older boy or man and should avoid contact with rubella.

Passage 3

A VERY SPECIAL DOG

Florence is one of a new breed of dog who is making the work of the

Australian Customs much easier.

It is 8.15 a.m. A flight lands at Melbourne's Tullamarine International Airport. Several hundred pieces of baggage are rushed from the plane onto a conveyor belt in the baggage reclaim annexe. Over the sound of roaring engines, rushing air vents and grinding generators, a dog barks. Florence, a sleek black labrador, wags her tail.

Among the cavalcade of luggage passing beneath Florence's all-smelling nose, is a nondescript hardback suitcase. Inside the case, within styrofoam casing, packed in loose pepper and coffee, wrapped in freezer paper and heat-sealed in plastic, are 18 kilograms of hashish.

The cleverly concealed drugs don't fool super-sniffer Florence, and her persistent scratching at the case alerts her handler. Florence is one of a truly new breed: the product of what is perhaps the only project in the world dedicated to breeding dogs solely to detect drugs. Ordinary dogs have a 0.1% chance of making it in drug detection. The new breeding programme, run by the Australian Customs, is so successful that more than 50% of its dogs make the grade.

And what began as a wholly practical exercise in keeping illegal drugs out of Australia may end up playing a role in an entirely different sphere - the comparatively esoteric world of neurobiology. It turns out that it's not Florence's nose that makes her a top drug dog, but her unswerving concentration, plus a few other essential traits. Florence could help neurobiologists to understand both what they call 'attention processing', the brain mechanisms that determine what a person pays attention to and for how long, and its flip side, problems such as Attention Deficit/Hyperactivity Disorder (ADHD). As many as 3 to 5% of children are thought to suffer from the condition in the US, where the incidence is highest, although diagnosis is often controversial.

The Australian Customs has used dogs to find drugs since 1969. Traditionally, the animals came from pounds and private breeders. But, in 1993, fed up with the poor success rate of finding good dogs this way, John Vandeloo, senior instructor with the Detector Dog Unit, joined forces with Kath Champness, then a doctoral student at the University of Melbourne, and set up a breeding programme.

Champness began by defining six essential traits that make a detector dog. First, every good detector dog must love praise because this is the only tool trainers have at their disposal, but the dog must still be able to work for long periods without it. Then it needs a strong hunting instinct and the stamina to keep sniffing at the taxing rate of around 300 times per minute. The ideal detector is also fearless enough to deal with jam-packed airport crowds and the roaring engine rooms of cargo ships.

The remaining two traits are closely related and cognitive in nature. A good detector must be capable of focusing on the task of searching for drugs, despite the distractions in any airport or dockside. This is what neurobiologists call 'selective attention'. And finally, with potentially tens of thousands of hiding places for drugs, the dog must persevere and maintain focus for hours at a time. Neurobiologists call this 'sustained attention'.

Vandeloo and Champness assess the dogs' abilities to concentrate by marking them on a scale of between one and five according to how well they remain focused on a toy tossed into a patch of grass. Ivan scores a feeble one. He follows the toy, gets half-way there, then becomes distracted by places where the other dogs have been or by flowers in the paddock. Rowena, on the other hand, has phenomenal concentration; some might even consider her obsessive. When Vandeloo tosses the toy, nothing can distract her from the searching, not other dogs, not food. And even if no one is around to encourage her, she keeps looking just the same. Rowena gets a five.

A person's ability to pay attention, like a dog's, depends on a number of overlapping cognitive behaviours, including memory and learning - the neurobiologist's attention processing. Attention in humans can be tested by asking subjects to spot colours on a screen while ignoring shapes, or to spot sounds while ignoring visual cues, or to take a 'vigilance test'. Sitting a vigilance test is like being a military radar operator. Blips appear on a cluttered monitor infrequently and at irregular intervals. Rapid detection of all blips earns a high score. Five minutes into the test, one in ten subjects will start to miss the majority of the blips, one in ten will still be able to spot nearly all of them and the rest will come somewhere in between.

Vigilance tasks provide signals that are infrequent and unpredictable - which is exactly what is expected of the dogs when they are asked to notice just a few odour molecules in the air, and then to home in on the source. During a routine mail screen that can take hours, the dogs stay so focused that not even a postcard lined with 0.5 grams of heroin and hidden in a bulging sack of letters escapes detection.

With the current interest in attentional processing, as well as human conditions that have an attention deficit component, such as ADHD, it is predicted that it is only a matter of time before the super-sniffer dogs attract the attention of neurobiologists trying to cure these conditions.

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