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Script:

Listen to part of a talk in a music education class.

Learning to play a musical instrument is one of the best experiences that a young child can have. Learning to play music begins with listening to others play music. A child’s first experience with playing an instrument should be by ear without the distraction of printed music. Playing by car is the natural beginning for children. The ability to play by ear will help them throughout their lives, and it also enriches the experience of music making. But children should eventually learn to read music. So, when is the right time? And what′s the best way for a child to learn how to read music?

A lot of children start playing an instrument at the age of eight or nine. It′s best for them to spend a couple of years playing by ear before the teacher introduces notation -printed music. Children should first be able to feel that their instrument is a part of them. Playing by ear is the best way for children to become comfortable with their instrument.

The teacher should introduce notation only when the child is ready. The right time is when the child feels a need for notation. This might be when the child has learned so many pieces it’s sort of difficult to remember them all. Then the teacher can present the printed music as a memory aid so learning to read music has a practical purpose and isn’t just a meaningless task.

A good time to teach notation is when a group of children play together. The printed score is a way to help them sort of keep track of who plays what and when. The score will organize their cooperative effort in a way that makes sense to them.

Another good time is when the child wants to play music that’s so complex it would be difficult to learn by ear. In this case, learning to read music is a natural step toward playing the music the child wants to play. The teacher should play the score for the child the first time through, and demonstrate how the notes on the page are transformed into music. The child listens as he or she looks at the printed notes. This way the child can begin to see how the notes represent sound and a printed score becomes a piece of music. As the child listens—and maybe plays along—he or she begins to understand the shape of the new piece.

For students who play a chord-producing instrument- the guitar, for example—a natural first step toward reading music is playing by chord symbols. Chord symbols are found in a lot of different styles of music -like pop and jazz and at various levels of difficulty. Chord symbols are a simple form of written music—they’re kind of a halfway point between playing by ear and reading a standard musical score.

After children can play by ear and then by chord symbols the next step is to read standard music notation. Although that’s the natural order for children to learn, it doesn’t mean that each successive step is better than the one that came before. The three methods of playing music playing by ear playing chords, and playing by standard notation—are all valuable in their own way. Some children will always prefer to play by ear. Others will like chord playing and have no desire to learn another method. And still others will find their musical home in the tradition of note reading. It′s the job of the music teacher to fit the method to the needs of the students.

4. According to the professor, why should a music teacher play the score for a child the first time?

A.

To demonstrate how the printed notes translate into music

B.

To show the child that the teacher is an excellent player

C.

To suggest that the score can be played in different styles

D.

To allow the child to memorize the score by listening

5. According to the professor, what is the natural order for children to learn music?

A.

(i) Learn how to play the instrument by ear. (ii) Learn how to play by chord symbols. (iii) Learn how to read standard notation.

B.

(i) Learn how to read standard notation. (ii) Learn how to play the instrument by ear. (iii) Learn how to play by chord symbols.

C.

(i) Learn how to play by chord symbols. (ii) Learn how to play the instrument by ear. (iii) Learn how to read standard notation.

6. What does the professor imply about the three methods of playing music?

A.

The best method is playing by standard notation.

B.

Each method is appropriate for some students.

C.

There is no reason to learn all three methods.

D.

Students should use the teacher's favorite method.

Script:

Listen to a conversation between a student and a professor.

Professor: Come in, Will. Did you want to discuss something with me?

Student: Thank you, yes, I have something I need to talk about with you. It’s about our group presentation. I′m here on behalf of our group. We’ve been trying to plan our presentation, but . . . well . . . we’re kind of stuck. So we decided that one of us should come here and talk about it with you, and I’m the one.

Professor: That’s fine, but can you be a bit more specific? I’m not quite sure how′ to answer your question.

Student: Well, we’re not sure how′ to get started, how to get organized. We’ve had a number of meetings, but we just sit around discussing how we should prepare the presentation, and we never set anywhere. Sometimes it seems like everyone in the group has a different idea about how to proceed.

Professor: OK, I see. . . . Tell me, what’s the topic of your presentation? I mean, which company are you discussing?

Student: The Northwest Paper Company.

Professor: OK, so, with your group, first of all you should be outlining what issues the Northwest Paper Company is facing.

Student: But we’ve been trying to divide up tasks first, trying to figure out who’s going to do what part of the presentation.

Professor: That most likely won’t work. You need to concentrate on the issues first, as a group and not individually.

Student: OK, so we should concentrate on the issues first. . . . You did say "issues,” didn’t you? There can be more than one issue?

Professor: Certainly. The company may be facing more than one issue . . . maybe two or three issues. Just concentrate on the major issues.

Student: So, as a group, the first thing we need to do is to decide what the issues are, maybe two or three main issues.

Professor: That′s right. Then, after the group has agreed on what the issues are, as a group, you need to decide on the best solution for each issue.

Student: OK, first we figure out the issues, and then we figure out the best solutions for the issues.

Professor: Yes. Together as a group, you should agree on the issues and the solutions.

And then, only then, you should think about how you’re going to organize your presentation.

Student: And how would you suggest that we organize our presentation?

Professor: Oh, there are many different ways to organize the presentation ... let me give you a couple of examples. How many students are in your group? Four or five?

Student: Four. Our group has four members.

Professor: Well, let’s say you decide that there are two major issues. Then, one person could introduce the presentation, give an overview, you know, and a second person could discuss one issue and its solution, and the third person could discuss the second issue and its solution, and the fourth person could summarize it all. Or maybe you decide that there′re three issues and three of you present issues and solutions and one person introduces and summarizes the presentation. Or maybe two of you present issues and the other two of you discuss possible solutions.

Student: OK. I understand. . . .

Professor: What, exactly, do you understand?

Student: That we need to figure out what the issues and solutions are together as a group before we can decide how we’re going to organize the presentation.

Professor: Exactly!

7. Why does the student go to talk with the professor?

A.

To discuss the issues his group has developed for their presentation

B.

To discuss how to resolve a problem his group is having

C.

To set up a meeting with his group and the professor

D.

To find out who else is working on his group presentation

8. Listen again to part of the passage. Then answer the question. What does the professor mean when she says this?

A.

“Can you please specify what your presentation is about?”

B.

“I can't answer until I understand better what your question is.”

C.

“Your question is too hard for me to answer."

D.

“Your question is a really good one.”

9. What does the professor think the students have done wrong?

A.

They have determined the issues but not the solutions.

B.

They have come up with too many issues.

C.

They need to determine more than one issue.

D.

They are concentrating on dividing up topics too early.

10. What should the students do first?

A.

Determine how to organize their presentation

B.

Find the main issue the company is facing

C.

Determine which part of the presentation each student should work on

D.

Determine the main issues and how to solve them

11. Listen again to part of the passage. Then answer the question. Why does the professor say this?

A.

To clarify that the students should discuss two issues

B.

To outline how the students should organize the presentation

C.

To apologize for not knowing how the students should organize the presentation

D.

To suggest that there are many possible ways to organize the presentation

Script:

Listen to a conversation in a university housing office.

M: Hi. Um ... I live in Tower One ... and I was ... um ... I’d kind of like to live in a smaller building. I’m thinking of moving next semester.

W: Do you know about the villages? They′re on the other side of campus from the towers.

M: Uh huh. I’ve seen them—1 mean, from the outside. What’s the rent like? I mean, compared to the towers.

W: The rent depends on the situation, like how many people arc in the suite.

M: Suite? What’s that?

W: It’s a unit for either four, six. or eight people. They’re like apartments.

M: Oh. Aren’t there any private rooms?

W: No, not in the villages. It’s all suites. The bedrooms are for two people—that part′s kind of like in the dormitories. You have to share a bedroom with another student. The suites have two to four bedrooms, one or two bathrooms, and a kitchen with a stove and a microwave, and a full refrigerator. Some of them also have a big living room.

M: Oh. That sounds kind of nice. So ... what′s the rent like?

W: I’ve just been checking in the computer. It looks like there′s going to be a couple of openings next semester, but there’s also a waiting list with about twenty - something people on it.

M: Oh.

W: Yeah. A lot of people want to live in the villages. I lived there for two years myself before I moved to a house off campus.

M: Uh huh. So what is the rent?

W: Oh. Sorry. Um … OK. The buildings in Swanson Village all have four-person suites. Those are 900 dollars a semester.

W: Wow.

M: And the other villages ... let me see ... they’re anywhere from eight-fifty to a thousand. It depends. The six- and eight-person units are usually a little less. The ones with living rooms are a little more.

M: Wow. That’s more than I expected.

W: The cheaper ones are less than the dorms in the towers.

M: Yeah, but I was hoping it’d be a lot less. But still ... I′d kind of like to get out of the towers. Um … How do I get on the waiting list?

W: I can add your name now, if you like.

M: OK. It’s Ian Jacobs.

W: Ian Jacobs. OK, Ian. I’ve added you to the waiting list. What we’ll do is send you a notice by e-mail if something opens up in the villages. Your name is uh ... number twenty-seven on the list.

M: Number twenty-seven ... oh ... wow.

W: You’d be surprised. Sometimes people change their minds, so people further down the list get a chance. You’ll get in the villages eventually, maybe next semester.

M: OK. Thanks for your help.

W: No problem. Have a nice day!

12. What is the purpose of the conversation?

A.

The man wants to change his housing situation.

B.

The man wants to move to a house off campus.

C.

The man wants to know why his rent was raised.

D.

The man needs information for a research project.

13. What are some features of the suites in the villages? Click on TWO answers.

A.

A full refrigerator

B.

Two to four bedrooms

C.

A fireplace

D.

Two study rooms

14. Listen again to part of the conversation. Then answer the question. Why does the woman say this?

A.

To suggest that she is sad about leaving her suite

B.

To apologize for not answering the man's question

C.

To show her concern for the man's situation

D.

To express regret at not being able to help the man

15. What does the man think of the cost of rent in the villages?

A.

The rent is reasonable for the features included.

B.

The rent is higher than he hoped it would be.

C.

The rent should be lower for such old buildings.

D.

The rent is similar to that of a house off campus.

16. 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 surprised at the number of people who live there.”

B.

“I don't like the idea of living with 27 people.”

C.

“I'm confused about why there is a waiting list.”

D.

“I don't think I'll be able to get a room in the villages.”

Script:

Listen to part of a lecture in a film studies class.

In the first two decades of the twentieth century, cinema established itself as a powerful mass medium. Movies were a popular entertainment for working people, but they were more than just entertainment. Movies were also regarded as high art by the intellectuals of the day. Many people believed that cinema—or film—would be the defining art form of the new century.

Even in its earliest years, film was developing its own style—a style that was distinct from that of the theater. But what do we mean when we speak of film style? To put it simply, style is the texture of a film’s images and sounds. It’s the filmmaker’s systematic use of the techniques of the medium—for example, staging, lighting, performance, camera framing and focus. Editing and sound also contribute to style.

A few filmmakers of the silent era were already developing film style, most notably in the editing technique of cutting. Cutting is when the action is broken up into separate shots, or pieces of film, and then the shots are recombined to tell the story in a coherent way. Before cutting, the action in films was like it was in the theater. The action took place far away from us. and it was continuous—it wasn’t interrupted by any closer views of the actors.

Early film critics didn’t like films that looked too much like theater. Theater was a well recognized art form with its own traditions and methods. However, film was something new. and well, it was an art form that owed its birth to the technology of the moving picture camera. The critics preferred to see stylistic camera work and editing—the techniques that set film apart from theater. A lot of critics felt that editing was the most important film technique. Cutting -the change from shot to shot - was regarded as the key to film artistry.

Another film technique—called cross-cutting—made it possible to tell two stories at the same time. Cross-cutting—it’s also called parallel action—it involves showing segments from two different sequences, moving back and forth from one to the other so the two stories appear to be taking place at the same time. Cross- cutting was used in the 1903 film The Great Train Robbery. The film shows bandits escaping from the scene of their crime, and then it cross cuts to a scene where the townspeople are dancing at a party, unaware the robbery has taken place. The audience easily understands that the two scenes are going on at the same time.

The person who usually receives the credit for inventing most film techniques is D.W′ Griffith. While Griffith didn′t invent everything about film actually he defined and redefined the innovations of other filmmakers—he created movies that critics and audiences recognized as a unique narrative form. This is because he perfected the elements of film “grammar” and the art of the story film.

Instead of having one camera shoot a scene from one position. D.W. Griffith filmed each scene from many angles, and then he pieced together the sequences in the editing room. He used editing to heighten and control the dramatic impact of a scene. He introduced analytical editing, that is breaking down a scene into shots that show closer views of people′s faces or gestures. These closely framed shots are known as close ups. The close up conveys a character’s emotions through subtle changes in the eyes, mouth, and brow. After D.W. Griffith, the close-up became a standard tool in the language of film.

17. What is the lecture mainly about?

A.

How film criticism influenced art

B.

The film techniques of D.W. Griffith

C.

The development of film style

D.

Media of the twentieth century

18. Which of the following contribute to the style of a film? Click on TWO answers.

A.

Film cutting

B.

Theater design

C.

Camera framing

D.

Acting awards

19. According to the professor, why did early film critics dislike films that resembled theater?

A.

They did not understand the traditions of theater.

B.

They thought that film was a distinct art form.

C.

They felt that films should not be shown in theaters.

D.

They disagreed with the politics of theater owners.

20. Why does the professor discuss cross-cutting?

A.

To convince students that film should be regarded as high art

B.

To give an example of an early advancement in film style

C.

To describe a technique that confused early film audiences

D.

To explain why film critics disliked certain types of films

21. Listen again to part of the lecture. Then answer the question. What does the professor mean when he says this?

A.

Critics liked Griffith's films, but audiences did not understand them.

B.

D.W. Griffith invented most of the film techniques we use today.

C.

The actors in Griffith's films always spoke with perfect grammar.

D.

D.W. Griffith improved film techniques, making film a literary art.

Script:

An epidemiologist has been invited to speak to students in a public health class. Listen to part of the talk.

Epidemiology is the field of medicine that deals with epidemics outbreaks of disease that affect large numbers of people. As an epidemiologist, I look at factors involved in the distribution and frequency of disease in human populations.

For example, what is it about what we do or what we eat, or what our environment is, that leads one group of people to be more likely—or less likely—to develop a disease than another group of people? It′s these factors that we try to identify.

We use statistical analyses, field investigations, and a range of laboratory techniques. We try to determine the cause and distribution of a disease. We also look at how quickly the disease spreads—and by what method—so we can implement measures to control and prevent the disease. Some epidemiologists concentrate on communicable diseases, like tuberculosis and AIDS. Others focus on the growing epidemics in cancer, diabetes, and heart disease.

We gather data in a variety of ways. One way is through what we call descriptive epidemiology, or looking at the trends of diseases over time, as well as ... uh ... trends of diseases in one population relative to another. Statistics are important in descriptive epidemiology, because numbers are a useful way to simplify information.

A second approach is observational epidemiology, where we observe what people do. We take a group of people who have a disease and a group of people who don′t have a disease. We look at their patterns of eating or drinking and their medical history. We also take a group of people who’ve been exposed to something—for example, smoking—and a group of people who haven′t, and then observe them over time to see whether they develop a disease or not. In observational epidemiology, we don’t interfere in the process. We just observe it.

A third approach is experimental epidemiology, sometimes called an intervention study. Experimental research is the best way to establish cause-and-effect relationships between variables. A typical experiment studies two groups of subjects. One group receives a treatment, and the other group—the control group—does not. Thus, the effectiveness of the treatment can be determined. Experimental research is the only type of research that directly attempts to influence a particular variable—called the treatment variable—as a way to test a hypothesis about cause and effect. Some examples of treatments that can be varied include the amount of iron or potassium in the diet, the amount or type of exercise one engages in per week, and the minutes of sunlight one is exposed to per day.

The Health Research Institute, of which I am the director, is mostly involved in experimental studies—I say mostly because we study treatment and non-treatment groups and then compare the outcomes. However, we do collect and study various types of data in any given year. From these different approaches —descriptive, observational, and experimental we can judge whether a particular factor causes or prevents the disease that we’re looking at.

22. What is the talk mainly about?

A.

Experimental studies of diseases.

B.

Epidemics around the world

C.

Why diseases change over time

D.

How epidemiologists gather data

23. What factors do epidemiologists study? Click on TWO answers.

A.

What causes outbreaks of a disease

B.

Stages in the treatment of a disease

C.

How diseases spread through populations

D.

Different names for the same disease

24. Based on the information in the talk, choose TWO answers that describe experimental epidemiology.

A.

Researchers examine the eating habits of sick and well people.

B.

A treatment group is compared with a non-treatment group.

C.

Statistics are used to describe the trend of a disease over time.

D.

Researchers intervene to test a hypothesis about cause and effect.

25. Based on the information in the talk, choose the answer that describes descriptive epidemiology.

A.

Researchers intervene to test a hypothesis about cause and effect.

B.

Statistics are used to describe the trend of a disease over time.

C.

A treatment group is compared with a non-treatment group.

D.

Researchers examine the eating habits of sick and well people.

26. Why do epidemiologists often study two groups of people?

A.

To understand cultural differences in approaches to disease.

B.

To learn why some people get a disease and others do not

C.

To explain why some people take better care of themselves

D.

To compare different people's attitudes toward work

27. Listen again to part of the talk. Then answer the question. Why does the speaker talk about her own work?

A.

To describe her organization's efforts to discover a cure for AIDS

B.

To show how one organization uses various approaches to epidemiology

C.

To inform the students that she prefers doing research to giving lectures

D.

To encourage students to work at her organization after they graduate.

Script:

Listen to part of a lecture in a world history class.

For thousands of years, early peoples found their food in nature. They hunted and fished, and ate plants and fruits that grew wild. What led these people to invent agriculture, a completely different way of life?

We know that ancient people changed from hunters and gatherers to farmers when they began to domesticate wild plants and animals. The first farmers on each continent did not have other farmers to observe, so they could not have chosen farming consciously. However, once agriculture had started in one part of a continent, neighboring people could see the result and make the conscious decision to farm.

We have no written records about prehistoric agriculture in the Americas, and very few artifacts or physical clues. We do have evidence that early people used sharp sticks to dig furrows for planting seeds. Those sticks were probably the first agricultural tools. We think the first Americans began to grow crops around ten thousand years ago. The evidence comes from a cave in Mexico, where cultivated squash seeds have been found. These seeds are evidence of the early domestication of plants.

Hunting-gathering people selected wild plants for domestication for various reasons. Some plants had tasty fruit, some had fleshy or seedless fruit, and some had fruit with oily or tasty seeds. In a certain part of prehistoric Mexico, there was a kind of squash that grew in abundance on hillsides. The flesh of this squash was bitter, so the people didn′t cat it, but the seeds were tasty and nourishing, and the people liked to gather them. The people brought the squash seeds back to their camp. As they ate the seeds, some seeds fell to the ground all around the camp. Later, some of these seeds germinated and produced new plants. Thus, the hunter-gatherers became farmers sort of by accident. It was probably not a conscious decision to plant squash in their camp, yet that was the result.

Now the people had a wild garden of squash plants at their campsite. This was fortunate, so they started to take more of an interest in the plants. They tried to protect the plants in practical ways. They cut back and cleared out the less healthy-looking plants. They pulled up other types of plants that were weeds. They gave the plants water during long dry spells. Eventually, the people realized that seeds grew better when they were planted in earth that was turned over. So they began to scratch the earth with a digging stick and to plant seeds systematically in rows. They realized that a tilled, watered, weeded garden provided larger, better, more numerous squash plants than those that grew naturally on a dry hillside. Thus, with a series of conscious decisions, the people started cultivating a new breed of squash plants. Because of their success with squash, they started to experiment with other kinds of plants. In time, they built a fence around the garden to protect it from animals. At this point, agriculture was firmly established in their culture.

Of course, all of this didn’t happen overnight. The process probably took thousands of years. Different peoples acquired agriculture at different times in prehistory. In some areas, crops and agricultural technology spread as ancient peoples conquered and traded with one another. In other places, agricultural technology developed in isolation. Even so, it’s very likely that the change from a hunting gathering society to an agricultural society followed a similar pattern in different regions of the world.

28. What is the main purpose of the lecture?

A.

To instruct in the cultivation of wild squash

B.

To explain how early people started farming

C.

To describe how hunter-gatherers found food

D.

To compare agriculture around the world

29. What is probably true about the origins of agriculture?

A.

The cultivation of vegetables occurred before that of grains.

B.

People around the world tried similar experiments with squash.

C.

The process of gathering wild food led naturally to farming.

D.

Agriculture and written language developed at the same time.

30. The professor explains how the early people of Mexico probably started farming. Summarize the process by putting the events in order.

A.

(i) New plants grew from the fallen seeds. (ii) The people began to protect the plants. (iii) The people brought seeds to their camp. (iv) Seeds fell to the ground as the people ate.

B.

(i) The people brought seeds to their camp. (ii) Seeds fell to the ground as the people ate. (iii) New plants grew from the fallen seeds. (iv) The people began to protect the plants.

C.

(i) The people began to protect the plants. (ii) The people brought seeds to their camp. (iii) New plants grew from the fallen seeds. (iv) Seeds fell to the ground as the people ate.

31. Why did the people begin to use digging sticks?

A.

They found that water would fill the holes they made.

B.

They noticed that seeds grew better in turned-over soil.

C.

They dug trenches around the garden to keep out animals.

D.

They discovered that food could be stored underground.

32. Listen again to part of the lecture. Then answer the question. Why does the professor say this?

A.

To point out that agriculture developed over a very long time.

B.

To emphasize the amount of effort it took to protect the plants.

C.

To explain why squash was a particularly successful crop.

D.

To show that people could not work in their gardens at night.

33. What point does the professor make about the transition from hunting-gathering to agriculture?

A.

Agriculture developed everywhere in the world at the same time.

B.

The rapid move to agriculture led to environmental devastation.

C.

The transition to agriculture eliminated the need for hunting.

D.

The process probably followed a similar pattern around the world.

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