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Script:

Listen to part of a conversation between two students.

M: Oh. Hi! It’s good to see you. What’s happening?

W: I′m busy with my classes. The quarter’s going by really quickly. How′ about you? What have you been up to?

M: Busy with school and work. Hey. What are you taking spring quarter?

W: Literature, sociology ... botany, and ... uh ... I’m hoping to do something in the arts, maybe some sort of work experience or internship.

M: No kidding! I didn’t know - you were artistic. What do you have in mind?

W: Well, there′s this theater group I just found out about in Chester. I went to a couple of their plays. They’re an interesting company. They perform a lot of new works, and they also do older plays that aren’t very well known, and ... well ... I’m really impressed and would love to work with them in some way.

M: No kidding! I didn’t know you were into theater. Do you act?

W: Not really ... I took drama in high school, but I was awful on stage. No ... it’s not acting that interests me as much as ... all the other stuff.

M: Like what? Directing? Lighting ?

W: All of it. Actually, This theater I told you about — they have the best sets! I’d like to build sets. Or make costumes, find props — I don’t know, even work in the office. It’s the whole atmosphere of theater that I find exciting.

M: It sounds like you need to be a theater intern.

W: But. as far as that goes ... my problem is I don’t know anything about setting it up.

M: What, the internship?

W: Yeah.

M: Do you know anyone who works there?

W: No. I only found out about it cause I went to a couple of plays.

M: Better go see your adviser about this. Doesn’t the advising department post a list of internships that are available?

W: Yeah, there’s a list. I already checked it, and there was nothing in theater. But I’ll talk to Sherry, of course. She’s my adviser.

M: You know′ what you could do? When I had to do an observation last year for my psychology class—we had to observe a work group for two weeks—what I did—how I got started was, I picked out a couple of law firms and then just sent formal letters of introduction. I told them I was a student, and had to do a report for one of my classes, and asked if 1 could meet with them to arrange an observation in their workplace.

W: Oh ... really? And what happened?

M: I said I’d call them, and the first firm I called said I could do it there.

W: Wow! You make it sound so easy. I wonder if that’d work with the theater.

M: It’s worth a try, isn’t it?

W: It’s worth a try. Hey, I’m glad I ran into you!

4. Why does the man say this?

A.

To compliment the woman on her abilities.

B.

To state what he likes about the theater

C.

To imply that the woman should be a director

D.

To learn more about the woman's interests

5. What does the man suggest the woman do? Click on TWO answers.

A.

To compliment the woman on her abilities.

B.

To imply that the woman should be a director

C.

To state what he likes about the theater

D.

To learn more about the woman's interests

Script:

Listen to a conversation in a university office.

M: Good afternoon. May I help you?

W: Yes, I hope so. My name is Jennifer Taylor, and I’m in the communications program. Our class is doing a radio program, and we’ll have interviews with a lot of people from all pans of campus life. We’d like to interview the new Dean of Students, if he’s willing.

M: Hmm. That sounds interesting.

W: I hope Dean Evans will agree to meet with us, and let us tape the conversation for the radio. It would be a way for the whole community to get to know him, get to know his ideas and everything ... like the kind of vision he has for the university.

M: How much time would you need?

W: Oh, probably about an hour, no more than that.

M: Hmm. I’m sure the dean would like to participate, but ... uh ... you know, his schedule is pretty tight.

W: Oh, I was afraid of that. Um ...

M: He’s tied up all this week. Everybody wants to. you know, get acquainted. But we can probably work something in. When would you like to do the interview?

W: The radio station can air the show on either the 16th or the 23rd, so we’d have to work around that.

M: Let me look at the dean’s schedule ... Let’s see ... it looks like he’s got a lot of meetings this week, and, well, most of next week, too. What about the week after that? He doesn’t have anything scheduled on Tuesday or Wednesday afternoon. Would either of those days work for you?

W: Um, yeah. I think so. How about Tuesday afternoon?

M: On Tuesday, he’s free from two o′clock till four- thirty.

W: Let’s see. I’ll be in class until two-thirty, so how about three?

M: All right. Three o’clock. Tuesday. April 15.

W: OK, that will be great. Thank you so much. This will be a great way for everyone to learn about our new dean. We really appreciate the opportunity to do this.

M: You′re really quite welcome. It’s our pleasure. In fact, I’ve put it on the dean’s calendar, and we will see you on the 15th.

W: The 15th. OK. Thank you very much.

6. What is the purpose of the conversation?

A.

The woman is requesting an interview with the dean.

B.

The man is interviewing the woman for a job in the office.

C.

The woman wants to enroll in the communications program.

D.

The man wants to discuss a change in the course schedule.

7. Why does the man say this:

A.

To state that the dean cannot change his schedule

B.

To let the woman know the dean is very busy

C.

To apologize for the dean's confusing behavior

D.

To express regret that the dean is not available

8. Why does the woman want to meet with the dean?

A.

To ask for a letter of recommendation

B.

To tell him that she enjoyed his lecture

C.

To request a change in the school calendar

D.

To learn about his ideas and vision

9. What can be inferred about the dean?

A.

He generally does not give interviews.

B.

He is an excellent public speaker.

C.

He is in his office two days a week.

D.

He has been dean for only a short time.

10. When will the meeting with the dean take place?

A.

The next week

B.

In two weeks

C.

In three weeks

D.

The next day

Script:

Listen to a conversation between a student and a music professor.

M: Hi, Professor Casey. How are you?

W: Fine, thanks. Michael. I heard you got the scholarship for the summer program at Silverwood. Congratulations!

M: Thank you. I mean, thank you very much—I’m sure your recommendation helped me a lot.

W: I was happy to do it. So are you ready for summer?

M: I wish it was next week, but I ... uh ... still have a lot to do before exams. But I’m looking forward to it. I’ll be studying oboe with Peter Stanley—he heads the woodwind ensemble there.

W: I know him. You couldn′t ask for a better teacher. That’s great. I′m really happy for you.

M: Thanks. I’m looking forward to it. He was on the panel for my interview. I′ll be studying oboe with him, and also orchestra- Dr. Fine is the conductor— and I’m hoping to do the French horn, too, and maybe take up the krummhorn—it has such a cool sound. They’re supposed to have an early music specialist there, but I forgot her name.

W: The krummhorn!

M: Yeah.

W: That’s right. You did tell me of your interest in medieval and Renaissance music. I hope you get a chance to pursue that. There’s been a revival of interest there. Well. Michael, it looks like you’ll have a full plate this summer.

M: I know. I’m sure I’ll be working hard! But it’ll be great.

W: So what comes after that? What are your plans for next year? You’ll be a sophomore, right?

M: Right. I′ll be coming back here, so I’m sure I’ll be seeing you. You′ll still be teaching theory and composition, right?

W: Of course I will. And I look forward to having you in class.

M: What will you be doing this summer?

W: I’ll be teaching Theory I and II and coaching voice.

M: Uh-huh. You′re also in a band, aren′t you? I mean, outside of school?

W: Yes. I am—a jazz quintet. We do mostly standards. I play piano and sing. For me, that′s fun and relaxation time.

M: My girlfriend said she heard you at the Back Alley.

W: Yes. we play there every Wednesday night. You should come hear us sometime.

M: I’d like that. I′ll bring my girlfriend. She says you were really good.

W: Well then, I hope to see you some Wednesday night.

M: I’ll be there. Well ... I gotta go now. I′m supposed to meet my German teacher in fifteen minutes. And thanks again for the recommendation.

W: It′s my pleasure. Michael. You′ll make the most of it. I’m certain. Good luck!

11. What topics do the speakers mainly discuss? Click on TWO answers.

A.

Their work experience

B.

Their musical interests

C.

Their summer plans

D.

Their mutual acquaintances

12. What does the professor mean when she says this?

A.

Some teachers are more effective than others.

B.

He is one of the best teachers available.

C.

You should ask for a different teacher.

D.

Students are not allowed to select their teachers.

13. Why does the professor say this?

A.

To explain why the summer program is popular

B.

To predict which courses the student will like

C.

To comment on the man's summer workload

D.

To praise the excellent food at Silverwood

14. What does the professor do for relaxation?

A.

Teach music theory

B.

Play in a jazz band

C.

Coach voice students

D.

Conduct the orchestra

15. What can be inferred from the conversation?

A.

The professor recommended the student for a scholarship.

B.

The summer program at Silverwood is not well known.

C.

The student wants to study music in graduate school.

D.

The professor used to be on the faculty at Silverwood.

Script:

Listen to a conversation between two students.

W: Our design class is getting really interesting, don′t you think?

M: Yeah. I like Professor Vargas, but sometimes he goes too fast, and I feel like I′m missing something. There’s a lot we have to remember.

W: True. There are a lot of details about all the different styles.

M: Yeah, there′s Art Nouveau, and Art Deco, and Art Moderne ... I have a hard time keeping it all straight.

W: I know what you mean.

M: For example, it seems to me that Art Deco and Art Moderne are the same thing.

W: Well, there is some overlap. They were both popular in the 1930s, although Art Deco came a little before Moderne. I think Professor Vargas said Art Deco started at an exhibition in Paris in 1925.

M: So, they were about the same time. That′s one thing that gets confusing. Another thing is, they seem so similar it’s hard to see why they′re considered different styles.

W: Art Deco has more decoration than Art Moderne. Art Deco is the style you see in a lot of movie theaters and hotels that were built in the twenties and thirties. It has facades with geometric designs ... and uh ... strips of windows with decorative spandrels. Art Deco uses a lot of straight lines and slender forms. “Sleekness” is the word that comes to mind. At the time, it was considered “modernistic”.

M: But that′s what gets confusing! Doesn′t “modernistic” also apply to Art Moderne?

W: Art Moderne is simpler than Deco. It has ... uh ... things like more rounded corners. Hat roofs, and ... the walls are smooth and don’t have any decoration. It’s more streamlined than Deco. Art Moderne buildings remind me of boats. The walls are smooth, and the trim is usually stainless steel. A lot of the windows are round, kind of like the portholes on a boat.

M: Oh ... I know a building like that. It′s right here in town, on Second Avenue. It has a rounded corner and round windows. It used to be a gas station, but now it’s a restaurant. We should go there sometime.

W: Yeah, I′d like to see that. My favorite building is the Maritime Building. It’s downtown, right across from my father′s office. Its Art Deco -built in 1927—I know that from the cornerstone. You should see the lobby! It′s just beautiful. There’s a geometric pattern in the tile on the floor kind of a big circle with lots of triangles. And you should see the elevator doors. They’re gorgeous.

M: You know we should go around and look at some of these buildings.

W: Yeah, that would be fun.

M: And ... you know what else ... this is an idea Tor our project. We could take pictures of the buildings and do a slide show in class.

W: Oh, that′s a cool idea! But don’t we need to get permission to take photographs? Especially of the interior ... we need pictures of the lobby of the Maritime Building.

M: We could ask for permission. That shouldn′t be a problem. Let’s talk to Professor Vargas and see what he thinks.

W: OK. Why don′t you do that, and I’ll go down to the Maritime Building and see if there′s anyone there— like a building superintendent—who can give us permission. I’ll let you know. Why don’t we meet again on Thursday?

M: OK. Fine with me.

16. What are the students mainly discussing?

A.

Popular styles of the 1930s

B.

The relationship of design to architecture

C.

Characteristics of two design styles

D.

Taking photographs of buildings

17. Listen again to part of the conversation. Then answer the question. Select the sentence that best expresses how the man probably feels.

A.

“I'm concerned about the amount we have to learn.”

B.

“I'm pleased that our professor knows so much.”

C.

“I'm bored with the designs we are studying.”

D.

“I'm surprised that so many styles exist.”

18. How does the woman help the man?

A.

She traces the history of architectural design.

B.

She contrasts the details of two design styles.

C.

She offers to help him study for an examination.

D.

She promises to speak to their professor.

19. Choose true sentence that describes Art Moderne.

A.

This style has straight lines, slender forms, and geometric patterns.

B.

This style has rounded corners, smooth walls, and little decoration.

C.

This is the style of a downtown building that the woman likes.

20. Choose true sentences that describe Art Deco.

A.

This style has rounded corners, smooth walls, and little decoration.

B.

This is the style of a downtown building that the woman likes.

C.

This style has straight lines, slender forms, and geometric patterns.

21. What can be inferred from the conversation?

A.

The students' professor is not available for help outside class.

B.

The man does not care much about the history of design.

C.

The woman's father is the superintendent of an office building.

D.

The students are required to do a project for their design class.

Script:

A botanist has been invited to speak to a geography class. She will be discussing aromatic trees of North America. Listen to part of the talk.

When European explorers first approached the coast of North America, even before their ships landed, the first thing they noticed was the pungent aroma carried to the ships by the offshore breezes. Some sea captains thought this aroma was the scent of the valuable Oriental spices that had prompted their voyages of exploration. But in fact, the agreeable smells didn’t come from spices: they came from the lush vegetation of the North American forests.

The fragrance came from the blossoms of numerous trees and from the volatile oils in pine sap. Pine sap is a resinous fluid that pine trees put out to heal wounds caused by wind, fire, and lightning, and also to protect the pine tree’s seeds.

Pine sap was a valuable commodity to the sailors who explored the coast. The smell of pine meant there was an abundant supply of what were known as naval stores pitch and pine tar. Pitch and pine tar were thick, sticky, semi-solid substances that were made by distilling pinewood. Sailors used naval stores for caulking and waterproofing their wooden ships, which kept them seaworthy.

The Europeans found fragrant trees all along the Atlantic coast, from Massachusetts in the north to Florida in the south. Everywhere along the coast, the air was filled with the strong perfume of the flowering dogwood. The Native Americans already knew about the medicinal properties of the dogwood, and they used its bark and roots to treat malaria and other fevers. They brewed the aromatic bark into a bitter, astringent tea. European settlers also used the dogwood to relieve attacks of malaria. They soaked the dogwood bark in whiskey and drank the strong infusion. This was before they knew’ about quinine from South America, and before quinine became available.

In the south, probably the best-known aromatic tree was the sassafras. The sassafras is a fast growing tree, a member of the laurel family. Like the other fragrant laurels cinnamon, bay. and camphor sassafras is noted for its aromatic bark, leaves, roots, flowers, and fruit. I have a sassafras twig with me here, which I′ll pass around so you can all enjoy its smell. Just give it a small scrape with your thumbnail to release the scent.

I think you’ll find it strong but pleasant.

The Choctaw Indians used powdered sassafras leaves as a spice. Other Native American tribes used sassafras tonic as a cure for everything from fever to stomachache. News of this wonder tree reached Europe in the sixteenth century by way of the French and the Spanish, and sassafras was one of the first exports from North America to Europe. It sold for a high price on the London market, which sort of inspired other English explorers to ... um ... seek their fortunes in the North American colonies.

For centuries, sassafras enjoyed a fantastic reputation as a cure for almost every disease. Maybe you′ve heard of the medicinal spring tonic of the old days. Well, sassafras was a main ingredient in spring tonic—the stuff pioneer parents gave their kids. My grandmother had to take the spring tonic that her grandmother made from sassafras.

Sassafras leaves, bark, and roots used to provide the flavoring for root beer and chewing gum. Sassafras was also used in soaps and perfumes. However, in the 1960s, the United States Food and Drug Administration found sassafras oil to be a potential carcinogen for humans because it caused cancer in rats. Since that time, sassafras has been banned for human consumption. No one really knows just how harmful it is to human beings, but some studies show that one cup of strong sassafras tea contains more than four times the amount of the volatile oil safrole that is hazardous to humans if consumed on a regular basis.

22. According to the speaker, what did European explorers notice as they sailed toward the shores of North America?

A.

The strength of the wind

B.

The density of the forests

C.

The fragrance of the trees

D.

The Native American villages

23. According to the speaker, why was pine sap a valuable commodity?

A.

It was an effective cure for headaches.

B.

It provided an aromatic spice for food.

C.

It was a good material for starting fires.

D.

It could make wooden ships waterproof.

24. How was the flowering dogwood used?

A.

As a flavoring for candy and soft drinks

B.

As an ingredient in soaps and perfumes

C.

As a treatment for fevers and malaria

D.

As a spring tonic for pioneer children

25. Why does the speaker say this?

A.

She is demonstrating how to brew tea.

B.

She is giving a recipe for a medicinal tonic.

C.

She needs someone to help her lift a heavy tree.

D.

She wants the students to smell a piece of wood.

26. Why was sassafras once considered a wonder tree?

A.

Its fragrance was the sweetest of any American tree.

B.

Its sap could be made into a tar to seal wooden ships.

C.

It was thought to be a cure for almost every disease.

D.

It provided more board timber than any other tree.

27. Listen again to part of the talk. Then answer the question. What does the speaker imply about sassafras?

A.

It is probably not harmful to humans.

B.

It is no longer a legal medicine.

C.

It is available only in drugstores.

D.

It is too expensive for most people.

Script:

Listen to a lecture in a gemology class.

Today, I’ll be talking about different styles of gem-cutting, particularly about how these different styles developed historically. The various styles of gems that I’ll be talking about are the cabochon, the table cut, the rose cut, and the brilliant cut.

The first style of gem-cutting, which you can see in this drawing, is the cabochon. The cabochon is a rounded shape, without facets. The cabochon style is quite old. It was the earliest style used to finish gems. The cabochons in these drawings are shown from the side.

A cabochon could be a simple cabochon, with a rounded top and a flat bottom, or it could be a double cabochon, which is rounded on both the top and the bottom. It was discovered early on that powders of harder materials such as diamonds could be used to polish gemstones, and many ancient cultures used this method to finish gems.

The cabochon cut was not a faceted cut. A facet, for those of you who don’t know, is a flat surface cut into a gem. It′s not clear when faceting of stones first developed. Stones were faceted as early as the fifteenth century in Europe, and they may have been faceted earlier than that in other cultures.

Now, we’ll look at one of the earliest styles of faceted gems, the table cut. You can see a table-cut stone, from the top and from the side, in these drawings.

An interesting thing to note is that early stones faceted in this way were probably not actually cut but were polished to this shape, using powders of harder stones such as diamonds. It does look like it was cut, but this stone was polished to this shape. Some stones, including diamonds, occur naturally in eight-sided double pyramids. To create a table cut from an eight-sided double pyramid, it’s necessary only to polish a flat surface on the top of one side of the naturally occurring eight-sided shapes.

The next stage in the development of gem-cutting is the rose cut. In a rose cut, a stone is actually cut rather than polished. This was one of the earliest methods of faceting the entire surface of a diamond, or other gem . . . It′s a very pretty cut, isn’t it? As you can tell from its name, it’s supposed to look like a rose in bloom. The rose cut involved cutting up to 32 triangular facets on the top of a diamond and a flat surface on the bottom. You can see a rose cut in the drawing from the top and from the bottom. . . . Oh, excuse me, that′s a top view and a side view. There’s no bottom view of the rose cut. . . . Now, you should note that this type of cut was beneficial because it maintained much of the original stone. However, it doesn’t reflect light in a way that maximizes the stone’s shine and brilliance. Because it doesn’t reflect light as well as other cuts, the rose cut’s no longer used much today.

The last type of cut we′ll look at is the brilliant cut. The brilliant cut came into use after the other styles. You can see a brilliant cut from the top and from the side and from the bottom. The brilliant cut’s faceted on the sides and top and also on the bottom. A stone with a brilliant cut in the correct proportion reflects the maximum amount of light out through the top of the stone and creates a stone that, as its name indicates, shines the most brilliantly. This style of stone is used quite often today because it′s so reflective.

We′ve seen four different styles of gems today, in the order that they developed historically. Two of them, the cabochon and the table cut, are polished rather than cut to create the style, while the other two are actually cut. Before next class, please look over the photos of gems at the end of the chapter and identify the style of each stone.

28. How does the professor present the different styles of gems?

A.

From the oldest to the most recently developed

B.

From the least common to the most common

C.

From the least expensive to the most expensive

D.

From the simplest to the most complex

29. Which gemstone cuts are unfaceted?

A.

Cabochon

B.

Rose cut

C.

Brilliant cut

D.

Table cut

30. Which gemstone cuts are faceted only on the top?

A.

Table cut

B.

Brilliant cut

C.

Rose cut

D.

Cabochon

31. Which gemstone cuts are faceted on the top and bottom?

A.

Cabochon

B.

Table cut

C.

Brilliant cut

D.

Rose cut

32. What does the professor say about faceting?

A.

It was not done earlier than the fifteenth century

B.

It was done in the fifteenth century.

C.

It was not done until after the fifteenth century.

D.

It may have been done earlier than the fifteenth century.

33. Which style of gem is no longer used much because it does not reflect light well?

A.

The table cut

B.

The rose cut

C.

The cabochon

D.

The brilliant cut

34. What overall conclusion can be drawn from the lecture?

A.

That the cutting of gemstones developed at the same time as the polishing of gemstones

B.

That the cutting of gemstones developed earlier than the polishing of gemstones

C.

That the polishing of gemstones developed as a result of the cutting of gemstones

D.

That the polishing of gemstones developed earlier than the cutting of gemstones

35. What is the assignment for the next class?

A.

To polish some gems

B.

To cut some gems

C.

To identify the style of some gems

D.

To read about some gems

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