Answer for IELTS 11 - Listening Practice Test 4

1. secondary 21. B,D IN EITHER ORDER
2. flute 22. B,D IN EITHER ORDER
3. cinema 23. A,B IN EITHER ORDER
4. concert 24. A,B IN EITHER ORDER
5. market 25. B,E IN EITHER ORDER
6. Bythwaite 26. B,E IN EITHER ORDER
7. actor 27. C
8. A 28. A
9. B 29. A
10. C 30. C
11. E 31. dry
12. D 32. hard
13. G 33. sugar/sugars
14. B 34. roots
15. C 35. moist/damp/wet
16. A 36. variety
17. F 37. cattle
18. H 38. gardens/gardening
19. C 39. grasses
20. B 40. payment/payments / money

Our answers are not correct?

Other modules in this test:

Marking Scheme

Level Band Listening Score Reading Score
Expert 9 39-40 39-40
Very Good 8.5 37-38 37-38
Very Good 8 35-36 35-36
Good 7.5 32-34 33-34
Good 7 30-31 30-32
Competent 6.5 26-29 27-29
Competent 6 23-25 23-26
Modest 5.5 18-22 19-22
Modest 5 16-17 15-18
Limited 4.5 13-15 13-14
Limited 4 10-12 10-12
Extremely Limited 3.5 8-10 8-9
Extremely Limited 3 6-7 6-7

Test details

Sections:

SECTION 1 Questions 1-10

Questions 1-7

Complete the table below.

Write ONE WORD AND/OR A NUMBER for each answer

Event

Cost

Venue

Notes

Jazz

band

Example

Tickets available

for £15

The 1

school
Answer: secondary

Also appearing:

Carolyn Hart (plays the 2 )
Answer: flute   (Locate)

Duck

races

£1 per duck

Start behind

the 3
Answer: cinema   (Locate)

Prize: tickets for 4

held at the end of the festival.

Ducks can be bought in the 5
4. Answer: concert   (Locate)
5. Answer: market   (Locate)

Flower

show

Free

6 Hall
Answer: Bythwaite

Prizes presented at 5 pm

by a well-known 7
Answer: actor   (Locate)

Questions 8-10

Who is each play suitable for?

Write the correct letter, A, B or C, next to Questions 8-10.

A    mainly for children

B    mainly for adults

C    suitable for people    of all ages

  

Plays

8    The Mystery of Muldoon 
Answer: A   (Locate)

9    Fire and Flood
Answer: B   (Locate)

10    Silly Sailor
Answer: C   (Locate)


SECTION 2 Questions 11-20

Questions 11-16

What does the speaker say about each of the following collections?

Choose SIX answers from the box and write the correct letter, A-G, next to Questions 11-16.

Comments

A was given by one person

B was recently publicised in the media

C includes some items given by members of the public

D includes some items given by the artists

E includes the most popular exhibits in the museum

F is the largest of its kind in the country

G has had some of its contents relocated

  

Collections

11    20th- and 21st-century paintings
Answer: E   (Locate)

12    19th-century paintings
Answer: D   (Locate)

13    Sculptures
Answer: G   (Locate)

14    ‘Around the world’ exhibition
Answer: B   (Locate)

15    Coins
Answer: C   (Locate)

16    Porcelain and glass
Answer: A   (Locate)

Questions 17-20 

Label the plan below.

Write the correct letter, A-H, next to Questions 17-20.

Basement of museum

17    restaurant
Answer: F   (Locate)

18    café
Answer: H   (Locate)

19    baby-changing facilities
Answer: C   (Locate)

20    cloakroom
Answer: B   (Locate)

----------------

Tips for IELTS Listening Map Labelling

  • Read the instructions carefully - this is so you know what you need to do and the maximum number of words and / or numbers you can use – in this case it is no more than two words.
  • Know the vocabulary of location - you need to know words commonly used to describe where things are located.
  • Identify where the numbers start and finish
  • Understand the context - listen carefully at the beginning as the speaker will give you the context. Also, look over the map. This will help you identify exactly what you are labelling - note the things that are already labelled to get a feel for where things are.
  • Predict the answers - as with all the listening test, it helps to predict what the answer may be. Look at the gaps and see if you can guess what you are labelling - a room, building, sports facility, street etc?
  • Pay particular attention to things close by
  • Pay attention to any other clues in the map - for example, you are given a compass icon in the corner telling you where ‘North’, ‘South’, ‘East’ and ‘West’ are. This means it is likely that these phrases will be used to direct you. So listen out for them.
  • Look at two questions at once - this is something you should always do in the listening test.

SECTION 3 Questions 21-30

Questions 21 and 22

Choose TWO letters,    A-E.

Which TWO characteristics were shared by the subjects of Joanna’s psychology study?

 

A They had all won prizes for their music.

B They had all made music recordings.

C They were all under 27 years old.

D They had all toured internationally.

E They all played a string instrument.
21. Answer: B,D IN EITHER ORDER   (Locate)
22. Answer: B,D IN EITHER ORDER   (Locate)

Questions 23 and 24

Choose TWO letters, A-E.

Which TWO points does Joanna make about her use of telephone interviews?

A It meant rich data could be collected.

B It allowed the involvement of top performers.

C It led to a stressful atmosphere at times.

D It meant interview times had to be limited.

E It caused some technical problems.
23. Answer: A,B IN EITHER ORDER   (Locate)
24. Answer: A,B IN EITHER ORDER   (Locate)

Questions 25 and 26

Choose TWO letters, A-E.

Which TWO topics did Joanna originally intend to investigate in her research?

A regulations concerning concert dress

B audience reactions to the dress of performers 

C changes in performer attitudes to concert dress 

D how choice of dress relates to performer roles 

E links between musical instrument and dress choice
25. Answer: B,E IN EITHER ORDER   (Locate)
26. Answer: B,E IN EITHER ORDER   (Locate)

Questions 27-30

Choose the correct letter, A, B or C.

27    Joanna concentrated on women performers because

A women are more influenced by fashion.

B women’s dress has led to more controversy.

C women’s code of dress is less strict than men’s.
Answer: C   (Locate)

 

28    Mike Frost’s article suggests that in popular music, women’s dress is affected by

A their wish to be taken seriously.

B their tendency to copy each other.

C their reaction to the masculine nature of the music.
Answer: A   (Locate)

 

29    What did Joanna’s subjects say about the audience at a performance?

A The musicians’ choice of clothing is linked to respect for the audience.

B The clothing should not distract the audience from the music.

C The audience should make the effort to dress appropriately.
Answer: A   (Locate)

 

30    According to the speakers, musicians could learn from sports scientists about 

A the importance of clothing for physical freedom.

B the part played by clothing in improving performance.

C the way clothing may protect against physical injury.
Answer: C   (Locate)


SECTION 4

Questions 31-40

Complete the notes below.

Write ONE WORD ONLY for each answer.

The use of soil to reduce carbon dioxide in the atmosphere 

Rattan Lal:

•    Claims that 13% of C02 in the atmosphere could be absorbed by agricultural soils

•    Erosion is more likely in soil that is 31
Answer: dry   (Locate)

•    Lal found soil in Africa that was very 32
Answer: hard   (Locate)

•    It was suggested that carbon from soil was entering the atmosphere

Soil and carbon:

•    plants turn C02 from the air into carbon-based substances such as 33
Answer: sugar/sugars   (Locate)

•    some C02 moves from the 34  of plants to microbes in the soil
Answer: roots   (Locate)

•    carbon was lost from the soil when agriculture was invented

Regenerative agriculture:

•    uses established practices to make sure soil remains fertile and 35
Answer: moist/damp/wet   (Locate)

•    e.g. through year-round planting and increasing the 36  plants that are grown
Answer: variety   (Locate)

California study:

•    taking place on a big 37  farm
Answer: cattle   (Locate)

•    uses compost made from waste from agriculture and 38
Answer: gardens/gardening   (Locate)

Australia study:

•    aims to increase soil carbon by using 39  that are always green
Answer: grasses   (Locate)

Future developments may include:

•    reducing the amount of fertilizer used in farming

•    giving farmers 40  for carbon storage, as well as their produce
Answer: payment/payments / money   (Locate)

 


Legend:       Academic word (?)            New word


Audioscript

SECTION 1

ROB:

Good morning. Stretton Festival box office. How can I help you?

MELANIE:

Oh, hello. My family and I are on holiday in the area, and we’ve seen some posters about the festival this week. Could you tell me about some of the events, please?

ROB:

Of course.

MELANIE:

First of all, are there still tickets available for the jazz band on Saturday?

ROB:

There are, but only £ 15 . The £12 seats have all been sold.

MELANIE:

OK. And the venue is the school, isn't it?

ROB:

Yes. that’s right, the secondary school. Make sure you don’t go to the primary school by mistake! And there’s an additional performer who isn't mentioned on the posters - Carolyn Hart is going to play with the band.

MELANIE:

Oh, I think I’ve heard her on the radio. Doesn’t she play the oboe, or flute or something?

ROB:

Yes. the flute . She usually plays with symphony orchestras, and apparently this is her first time with a jazz band.

MELANIE:

Well, I’d certainly like to hear her. Then the next thing I want to ask about is the duck races - I saw a poster beside a river. What are they, exactly?

ROB:

Well, you buy a yellow plastic duck - or as many as you like - they’re a pound each. And you write your name on each one. There’ll be several races, depending on the number of ducks taking part. And John Stevens, a champion swimmer who lives

locally is going to start the races. All the ducks will be launched into the river at the back of the cinema , then they’ll float along the river for 500 metres, as far as the railway bridge.

MELANIE:

And are there any prizes? 

ROB:

Yes, the first duck in each race to arrive at the finishing line wins its owner free tickets for the concert on the last night of the festival.

MELANIE:

You said you can buy a duck? I’m sure my children will both want one.

ROB:

they’re on sale at a stall in the market . You can’t miss it - it’s got an enormous sign showing a couple of ducks.

MELANIE:

OK. I’ll go there this afternoon. I remember walking past there yesterday. Now could you tell me something about the flower show, please?

ROB:

Well, admission is free, and the show is being held in Bythwaite Hall.

MELANIE:

Sorry, how do you spell that?

ROB:

B-Y-T-H-W-A-l-T-E. Bythwaite.

MELANIE:

Is it easy to find? I’m not very familiar with the town yet.

ROB:

Oh, you won’t have any problem. It’s right in the centre of Stretton. It’s the only old building in the town, so it’s easy to recognise.

MELANIE:

I know it. I presume it’s open all day.

ROB:

Yes, but if you’d like to see the prizes being awarded for the best flowers, you’ll need to be there at 5 o’clock. The prizes are being given by a famous actor , Kevin Shapless. He lives nearby and gets involved in a lot of community events.

MELANIE:

Gosh, I’ve seen him on TV. I’ll definitely go to the prize-giving.

ROB:

Right.

MELANIE:

I’ve seen a list of plays that are being performed this week, and I’d like to know which are suitable for my children, and which ones my husband and I might go to.

ROB:

How old are your children?

MELANIE:

Five and seven. What about ' The Mystery of Muldoon ’?

ROB:

MELANIE:

That’s aimed at five to ten-year-olds.

So if I take my children, I can expect them to enjoy it more than I do?

ROB:

I think so. If you’d like something for yourself and your husband, and leave your children with a babysitter. you might like to see ‘Fire and Flood’ - it’s about events that really happened in Stretton two hundred years ago, and children might find it rather frightening.

MELANIE:

Oh, thanks for the warning. And finally, what about ‘ Silly Sailor ’?

ROB:

That’s a comedy, and it’s for young and old . In fact, it won an award in the Stretton Drama Festival a couple of months ago.

MELANIE:

OK. Well, goodbye, and thanks for all the information. I’m looking forward to the festival!

ROB:

Goodbye.

SECTION 2

Good morning, and welcome to the museum - one with a remarkable range of exhibits, which I’m sure you’ll enjoy. My name’s Greg, and I’ll tell you about the various collections as we go round. But before we go, let me just give you a taste of what we have here.

Well, for one thing, we have a fine collection of twentieth and twenty-first century paintings,

many by very well-known artists. I’m sure you’ll recognise several of the paintings. This is the gallery that attracts the largest number of visitors , so it’s best to go in early in the day before the crowds arrive.

Then there are the nineteenth-century paintings . The museum was opened in the middle of

that century and several of the artists each donated one work  to get the museum started, as it were. So they’re of special interest to us - we feel closer to them than to other works.

The sculpture gallery has a number of fine exhibits, but I'm afraid it's currently closed for

refurbishment . You’ll need to come back next year to see it properly. but a number of the sculptures have been moved to other parts of the museum.

‘Around the world' is a temporary exhibition - you've probably seen something about it on TV or in the newspapers . It's created a great deal of interest, because it presents objects from every continent and many countries, and provides information about their social context -why they were made, who for, and so on.

Then there’s the collection of coins . This is what you might call a focused, specialist collection, because all the coins come from this country, and were produced between two

thousand and a thousand years ago. And many of them were discovered by ordinary people digging their gardens, and donated to the museum!

All our porcelain and glass was left to the museum by its founder , when he died in 1878. And in the terms of his will, we’re not allowed to add anything to that collection: he believed it was perfect in itself, and we don’t see any reason to disagree!

OK, that was something about the collections, and now here s some more practical information, in case you need it. Most of the museum facilities are downstairs, in the basement, so you go down the stairs here. When you reach the bottom of the stairs, you'll find yourself in a sitting area, with comfortable chairs and sofas where you can have a rest before continuing your exploration of the museum.

We have a very good restaurant , which serves excellent food all day, in a relaxing

atmosphere. To reach it, when you get to the bottom of the stairs, go straight ahead to the far side of the sitting area, then turn right into the corridor. You'll see the door of the restaurant facing you

If you just want a snack, or if you'd like to eat somewhere with facilities for children, we also

have a café . When you reach the bottom of the stairs, you'll need to go straight ahead, turn, right into the corridor, and the café is immediately on the right.

And talking about children, there are baby-changing facilities downstairs: cross the sitting area, continue straight ahead along the corridor on the left, and you and your baby will find the facilities on the left-hand side.

The cloakroom , where you should leave coats, umbrellas and any large bags, is on the left hand side of the sitting area. It's through the last door before you come to the corridor.

Q20

There are toilets on every floor, but in the basement they're the first rooms on the left when you get down there.

OK, now if you’ve got anything to leave in the cloakroom, please do that now, and then we’ll start our tour.

SECTION 3

SUPERVISOR:

Hi, Joanna, good to meet you. Now, before we discuss your new research project, I’d like to hear something about the psychology study you did last year for your Master’s degree. So how did you choose your subjects for that?

JOANNA:

Well, I had six subjects, all professional musicians, and all female. Three were violinists and there was also a cello player and a pianist and a flute player. They

were all very highly regarded in the music world and they’d done quite extensive tours in different continents , and quite a few had won prizes and competitions as well.

SUPERVISOR:

And they were quite young, weren’t they?

JOANNA:

Yes, between 25 and 29 - the mean was 27.8. I wasn’t specifically looking for artists who’d produced recordings . but this is something that’s just taken for granted these days. and they all had.

SUPERVISOR:

Right. Now you collected your data through telephone interviews, didn’t you?

JOANNA:

Yes. I realised if I was going to interview leading musicians it’d only be possible over the phone because they’re so busy. I recorded them using a telephone recording adaptor. I’d been worried about the quality, but it worked out all right. I managed at least a 30-minute interview with each subject, sometimes longer.

SUPERVISOR:

Did doing it on the phone make it more stressful?

JOANNA:

I’d thought it might... it was all quite informal though and in fact they seemed

very keen to talk. And I don’t think using the phone meant I got less rich data, rather the opposite in fact .

SUPERVISOR:

Interesting. And you were looking at how performers dress for concert performances?

JOANNA:

That’s right. My research investigated the way players see their role as a musician and how this is linked to the type of clothing they decide to wear . But

that focus didn’t emerge immediately. When I started I was more interested in trying to investigate the impact of what was worn on those listening, and also

whether someone like a violinist might adopt a different style of clothing from , say, someone playing the flute or the trumpet.

SUPERVISOR:

It’s interesting that the choice of dress is up to the individual, isn’t it?

JOANNA:

Yes, you’d expect there to be rules about it in orchestras, but that’s quite rare.

SUPERVISOR:

You only had women performers in your study. Was that because male musicians are less worried about fashion?

JOANNA:

I think a lot of the men are very much influenced by fashion, but in social terms the choices they have are more limited ... they’d really upset audiences if they strayed away from quite narrow boundaries.

SUPERVISOR:

Hmm. Now, popular music has quite different expectations. Did you read Mike Frost’s article about the dress of women performers in popular music?

JOANNA:

No.

SUPERVISOR:

He points out that a lot of female singers and musicians in popular music tend to dress down in performances, and wear less feminine clothes , like jeans instead

of skirts, and he suggests this is because otherwise they’d just be discounted as trivial .

JOANNA:

But you could argue they’re just wearing what’s practical ... I mean, a pop-music concert is usually a pretty energetic affair.

SUPERVISOR:

Yes, he doesn’t make that point, but I think you’re probably right. I was interested by the effect of the audience at a musical performance when it came to the choice of dress.

JOANNA:

The subjects I interviewed felt this was really important. It’s all to do with what

we understand by performance as a public event. They believed the audience had certain expectations and it was up to them as performers to fulfil these expectations, to show a kind of esteem ...

SUPERVISOR:

... they weren’t afraid of looking as if they’d made an effort to look good.

JOANNA:

Mmm. I think in the past the audience would have had those expectations of one another too, but that’s not really the case now, not in the UK anyway.

SUPERVISOR:

No.

JOANNA:

And I also got interested in what sports scientists are doing too, with regard to clothing.

SUPERVISOR:

Musicians are quite vulnerable physically, aren’t they, because the movements they carry out are very intensive and repetitive, so I’d imagine some features of sports clothing could safeguard the players from the potentially dangerous effects of this sort of thing.

Q30

JOANNA:

Yes, but musicians don’t really consider it. They avoid clothing that obviously restricts their movements, but that’s as far as they go.

SUPERVISOR:

Anyway, coming back to your own research, do you have any idea where you’re going from here?

JOANNA:

I was thinking of doing a study using an audience, including ...

SECTION 4

As we saw in the last lecture, a major cause of climate change is the rapid rise in the level of carbon dioxide in the atmosphere over the last century. If we could reduce the amount of CO2, perhaps the rate of climate change could also be slowed down. One potential method involves enhancing the role of the soil that plants grow in, with regard to absorbing CO2. Rattan Lal, a soil scientist from Ohio State University, in the USA, claims that the world's agricultural soils could potentially absorb 13 per cent of the carbon dioxide in the atmosphere - the equivalent of the amount released in the last 30 years. And research is going on into how this might be achieved.

Lal first came to the idea that soil might be valuable in this way not through an interest in climate change, but rather out of concern for the land itself and the people dependent on it.

Carbon-rich soil is dark, crumbly and fertile, and retains some water. But erosion can occur if soil is dry . which is a likely effect if it contains inadequate amounts of carbon. Erosion is of course bad for people trying to grow crops or breed animals on that terrain. In the 1970s

and '80s. Lal was studying soils in Africa so devoid of organic matter that the around had become extremely hard , like cement. There he met a pioneer in the study of global warming, who suggested that carbon from the soil had moved into the atmosphere. This is now looking increasingly likely.

Let me explain. For millions of years, carbon dioxide levels in the atmosphere have been regulated, in part, by a natural partnership between plants and microbes - tiny organisms in

the soil. Plants absorb CO2 from the air and transform it into sugars and other carbon-based

substances. While a proportion of these carbon products remain in the plant, some transfer from the roots to fungi and soil microbes, which store the carbon in the soil.

The invention of agriculture some 10,000 years ago disrupted these ancient soil-building processes and led to the loss of carbon from the soil. When humans started draining the natural topsoil, and ploughing it up for planting, they exposed the buried carbon to oxygen. This created carbon dioxide and released it into the air. And in some places, grazing by domesticated animals has removed all vegetation, releasing carbon into the air. Tons of carbon have been stripped from the world’s soils - where it’s needed - and pumped into the atmosphere.

So what can be done? Researchers are now coming up with evidence that even modest changes to farming can significantly help to reduce the amount of carbon in the atmosphere.

Some growers have already started using an approach known as regenerative agriculture.

This aims to boost the fertility of soil and keep it moist through established practices. These

include keeping fields planted all year round, and increasing the variety of plants being grown. Strategies like these can significantly increase the amount of carbon stored in the soil, so agricultural researchers are now building a case for their use in combating climate change.

One American investigation into the potential for storing C0 2 on agricultural lands is taking place in California. Soil scientist Whendee Silver of the University of California, Berkeley, is

conducting a first-of-its-kind study on a large cattle farm in the state. She and her students are testing the effects on carbon storage of the compost that is created from waste - both

agricultural, including manure and cornstalks, and waste produced in gardens , such as leaves, branches, and lawn trimmings.

In Australia, soil ecologist Christine Jones is testing another promising soil-enrichment

strategy. Jones and 12 farmers are working to build up soil carbon by cultivating grasses that stay green all year round. Like composting, the approach has already been proved experimentally; Jones now hopes to show that it can be applied on working farms and that the resulting carbon capture can be accurately measured.

It’s hoped in the future that projects such as these will demonstrate the role that farmers and other land managers can play in reducing the harmful effects of greenhouse gases.

For example, in countries like the United States, where most farming operations use large applications of fertiliser, changing such long-standing habits will require a change of system.

Rattan Lal argues that farmers should receive payment not just for the corn or beef they produce, but also for the carbon they can store in their soil.

Another study being carried out ...

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