C O N T E N T S

Paper 4 Listening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

General Description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Sample Paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Answer Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Answer Sheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Tapescript . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

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

General Description

Paper Format

The paper contains four parts.

Number of Questions

28.

Task Types

Multiple choice, sentence completion, matching.

Text Types

Interview, discussion, conversation, radio play, talk, speech,lecture, commentary, documentary, instructions.

Recording Information

Each text is heard twice. Recordings will contain a variety ofaccents corresponding to standard variants of English nativespeaker accent. Background sounds may be included beforespeaking begins, to provide contextual information.

Answering

Candidates indicate their answers by shading the correctlozenges or writing the required letter, word or words on ananswer sheet.

Timing

Approximately 40 minutes.

Marks

One mark is given for each correct answer.

Part Task Type and Focus Number of Task FormatQuestions

1 Three-option multiple choice 8 Four short extracts from monologues or textsinvolving interacting speakers with two

Gist, detail, main idea, function, purpose, topic, questions per extract.feeling, attitude, opinion

2 Sentence completion 9 Candidates complete gaps in sentences withinformation from a monologue or prompted

Specific information, stated opinion monologue.

3 Four-option multiple choice 5 A text involving interacting speakers (e.g.interview) with multiple choice questions.

Opinion, gist, detail, inference

4 Three-way matching 6 Candidates match statements on a text to either of two speakers or to both when they

Stated and non-stated opinion, agreement express agreement.and disagreement

PA P E R 4 A N S W E R K E Y

Part 1 Part 2 Part 3 Part 4

1. A 9. conservationists 18. C 23. B 2. B 10. (a piece of / a bit of / some) seaweed / sea-weed / sea weed 19. B 24. D 3. B 11. insect 20. D 25. J 4. C 12. rocking horse / rocking-horse 21. A 26. B 5. B 13. (small) shellfish(es) / shell-fish(es) / shell fish(es) 22. D 27. J 6. A 14. exhibitions 28. J7. B 15. captivity8. A 16. legislation

17. permits / licences / licenses

Note that correct spelling is required for questions 9 to 17.

Parts of the answers which are in brackets are not essential to the key.

The University of Cambridge, Local Examinations Syndicate.

Certificate of Proficiency in English ListeningTest. Sample Paper 1.

I’m going to give you the instructions for thistest. I’ll introduce each part of the test andgive you time to look at the questions.

At the start of each piece you’ll hear thissound:

TONE

You’ll hear each piece twice.

Remember, while you’re listening, write youranswers on the question paper. You’ll havefive minutes at the end of the test to copy youranswers onto the separate answer sheet.

There will now be a pause. Please ask anyquestions now, because you must not speakduring the test.

PAUSE 5 seconds

Part 1

Now open your question paper and look atPart One.

PAUSE 5 seconds

You will hear four different extracts. Forquestions 1–8, choose the answer (A, B or C)which fits best according to what you hear.There are two questions for each extract.

Extract One

PAUSE 15 seconds

TONE

Man I grew up on the Isle of Wight; my parents hadan ice-cream firm there. And I still retain agreat affection for the island, even though as acultural centre it’s rather wanting. We had afew literary figures associated with the island,though, one of whom was the poet Tennyson.And there’s a festival – I think it’s still going onnow – where once a year children arerequired to stand up in public and recitechunks of Tennyson’s poetry. For my sins, myparents encouraged me to go along to thiscompetition at, I suppose, about fifteen or

sixteen, and with a lot of hair draping over myface, I would somehow swallow my pride andstand up and recite poetry, near Tennyson’shouse in Freshwater, hoping against hope thatnone of my schoolfriends was in theaudience. If you pushed me against a wallnow and said, ‘Recite poetry!’, it would beTennyson which came out, and, of course,I’ve come to love it.

PAUSE 5 seconds

TONE

REPEAT Extract One

PAUSE 2 seconds

Extract Two

PAUSE 15 seconds

TONE

Woman Well, I remember when no car ad wascomplete without an attractive female drapedover the bonnet. It’s not like that anymore.

Man I just think the ads are a bit mundane now. Imean, just think of that one with a womanloading up at the supermarket.

Woman Well, the thing is people are more media-literate now. The successful advert has got tokeep just ahead of what people respond to, ofcultural changes.

Man Sure, but I do think that people see throughads … or else we’ve seen so many that theyjust wash over us.

Woman I don’t know; advertising still has an impact,providing it talks to consumers, tells themsomething …

Man … and doesn’t patronise them.Woman Well, at least these new car ads say, you

know, ‘we recognise your needs, weunderstand your lifestyle,’ or whatever,through the images portrayed.

Man (doubtful) Possibly.

PAUSE 5 seconds

TONE

REPEAT Extract Two

PAUSE 2 seconds

Extract Three

PAUSE 15 seconds

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

TONE

Man The ‘moog’ synthesizer, invented by RobertMoog, was the electronic keyboard instrumentthat became one of the defining sounds of the1960s and 70s. I was always taught,throughout my fifteen years of classicaltraining, that music is colours, and you’repainting pictures. What Bob did with themoog, which nobody else has managed to do,was he created the musical equivalent of anew colour.

When you had, in the early days, rock bandswith electric organs, you were limited becauseof the nature of the way they were amplified.So, you almost never did a solo, and if youdid have one, the band had to go so quiet thata lot of the impact was lost anyway.

Now, what happened when the moog camealong, is that you had the equivalent inorchestral terms of the tambourine. It is saidthat a tambourine will cut through anything,you always hear it, and the same can be saidof the moog. Now, suddenly here was thechance for the keyboard player in the rockband to move from being in the background,padding something out, to take centre stageand show some virtuosity.

PAUSE 5 seconds

TONE

REPEAT Extract Three

PAUSE 2 seconds

Extract Four

PAUSE 15 seconds

TONE

Reporter Today, we have a change of tack, directionand sport, to cover a local outfit in search ofsporting salvation. Our team of the day is thevolleyball side, Cambridge Ladies, whoseinjury-ravaged ranks journey to Hatfield onSaturday in a bid to lift themselves up theDivision Three league table as they take ontwo top-ranking sides, Oxford and Luton.

The team have struggled due to a longcatalogue of injuries that have kept keyplayers out of the side and they sit ratherforlornly second from bottom of the table.Club coach, Dan Lansden, has been cracking

the whip this weekend and, in his owninimitable manner, has gingerly cajoled hisside in preparation for a vital couple of games.Captain Lisa Wainwright has to shrug off aniggling shoulder problem to take her place ina line-up still minus Vicky Swan. The ladieshave four games left in which to salvage theirseason. Warm up for the games is at 12.30and the two fixtures follow rapidly with barelya break for lunch.

PAUSE 5 seconds

TONE

REPEAT Extract Four

PAUSE 2 seconds

That’s the end of Part One.

Now turn to Part Two.

PAUSE 5 seconds

Part 2

You will hear a radio report about a species ofsmall marine creature called the ‘sea dragon’.For questions 9–17, complete the sentenceswith a word or short phrase.

You now have forty-five seconds in which tolook at Part Two.

PAUSE 45 seconds

TONE

Presenter Few people have actually seen a sea dragon –those tiny, almost magical creatures that livein the ocean. And recently two types of seadragon – the ‘leafy’ sea dragon and the‘weedy’ sea dragon – have been placed on thelist of threatened species. Christine Myersreports:

Christine Sea dragons are exquisite animals wrapped ina cloak of mystery. Much of what is knownabout their biology has come from theobservation of skilled divers, or aquarists.There has been relatively little scientificresearch on their ecology and behaviour inthe wild, and this lack of information is now acause of anxiety among conservationists whoare growing increasingly worried about thelong-term future of these extraordinaryanimals.

Divers who have searched the ocean’s watersfor these small animals will confirm that theyare very easy to miss. At first sight you maywell think a ‘leafy’ sea dragon is in fact apiece of seaweed and swim right past it. Atabout 30 cm long, it has stripes like a tiger, ahead like a sea horse and a random array ofappendages. In fact, the armour-plated bodyand fearsome spikes make it look more like aninsect – if you see it at all – than a creaturefrom the sea. But this is the ‘leafy’ sea dragon.Pause to reach for a camera, make a fewadjustments, and it’s gone, or at least that’show it seems. The ‘leafy’ sea dragon willdisappear before your eyes.

It moves by slowly undulating motions, ratherlike a rocking horse – effortless, as ifcontrolled by invisible wires – but lookclosely and you will see the small, transparentfins which allow the sea dragon to movethrough the water without the normal bodymotions associated with swimming. And, ofcourse, it all helps create that convincingdisguise. But penetrate that disguise and youwill see why sea dragons are classified in thesame family as sea horses – there’s a distinctsimilarity. For example, like the sea horse,they suck plankton and small shellfish intotheir mouths from as far away as 3 cm.

Both types – the ‘leafy’ and the ‘weedy’ seadragon – are indigenous to Australian waters,but ‘weedies’ are more widely distributed than‘leafies’. Attempts are now being made toassess population sizes and threats to theseunique creatures. Unlike sea horses, seadragons are not in demand for traditionalAsian medicine. But unfortunately they arecaptured for exhibitions, which is considereda potential threat to their welfare. The signsare that a very large percentage of sea dragonscaptured for this purpose live no longer thansix months, simply because keeping them incaptivity is exceptionally difficult and requiresa great deal of expertise.

Up until now, only two of the five Australianstates which have sea dragons off their coastshave had legislation to protect them. Thisprohibits their capture without a permit.However, conservationists are still concernedabout the fate of these wild populations, asmore than 40 permits were issued over a two-year period for the collection of ‘leafy’ seadragons from Encounter Bay, South Australiaalone. But nobody knows just how many ofthem inhabit the bay, and divers have been

reporting fewer sightings than in previousyears, so it may be that the situation is evenworse than was feared.

Presenter That report by Christine Myers.

PAUSE 10 seconds

Now you’ll hear Part Two again.

TONE

REPEAT Part Two

PAUSE 5 seconds

That’s the end of Part Two.

Now turn to Part Three.

PAUSE 5 seconds

Part 3

You will hear an interview with Noel Richler,who recently took a boat down the ColoradoRiver in the USA. For questions 18–22,choose the answer (A, B, C or D) which fitsbest according to what you hear.

You now have one minute in which to look atPart Three.

PAUSE 1 minute

TONE

Interviewer Someone who recently took a boat down theColorado River in the Grand Canyon is NoelRichler. Now, for those of you who don’tknow this valley it’s very, very steep and theColorado River rushes and swirls throughcanyons and over rocks giving you the boat-trip of a lifetime. Noel, what are the moststriking features about the valley? Is it, in fact,the cliffs or is it the water at the base of thecliffs?

Noel I suppose the thing which astonished me mostwas just how cocooned I felt. I knowmountains fairly well, and I suppose I wasmistakenly predicting what I would feel frommy mountaineering days. I thought that itwould feel precipitous and dangerous, but Iremember looking upward frequently … andwe had to camp on the sides of the river andsometimes there was some sort of ledge whereyou could find tent space, sometimes youwere really pinched up against the more sheerrock through which the water cuts, but always

guides who knew exactly what was going onand what a near thing it had been.

Interviewer Noel Richler with the river runners, as theyare called, of the Grand Canyon.

PAUSE 10 seconds

Now you’ll hear Part Three again.

TONE

REPEAT Part Three

PAUSE 5 seconds

That’s the end of Part Three.

Now turn to Part Four.

PAUSE 5 seconds

Part 4

You will hear two writers, David and Jane,talking about adapting novels for television.For questions 23–28, decide whether theopinions are expressed by only one of thespeakers, or whether the speakers agree. WriteD for David, J for Jane, or B for both, wherethey agree.

You now have thirty seconds in which to lookat Part Four.

PAUSE 30 seconds

TONE

Interviewer Today we’re talking about the adaptation ofnovels for television. With me is the novelistand critic, David Leekey, and Jane Wright,whose adaptation of her novel ‘The SleepingHouse’ into a four-part TV drama was verywidely acclaimed. David – ten years ago itwould be hard to imagine talking about thisgenre of writing: adapting novels. Why do youthink more and more novelists are turningtheir hands to it?

David I think it is simply a reflection of thedevelopment of television itself, which has anendless appetite for narrative, for drama. Sonovels fit the bill.

Jane Don’t you think, though, from the writer’spoint of view, part of the attraction is that it’scollaborative? You know, most writers write inisolation.

David It’s a double-edged relationship because therecan be frustrations involved in collaborationbut it’s certainly the most striking differencebetween being a novelist and writing for

you’d look up and you’d have a sky framedfor you beautifully, and you just feltmarvellously at home and at peace and it waswonderful.

Interviewer And has that feeling stayed with you?Noel No, strangely enough, I felt a kind of

extraordinary longing and sense of loss whenthe trip was finally over … The river in theGrand Canyon really runs from two plugs; atthe north end is the Glen Canyon Dam, which halts all the waters from the MonumentValley north, and that you’ll have seen inwestern movies and so on; and at the bottomend is Lake Mead, which is an artificial lakebehind the rather handsome Hoover Damabove Las Vegas, which is also a very wealthy community. So you get over the lastrapid and you’ve had ten days of great peaceand you find yourself … the first thing we saw,at least, was three guys on skidoos, thesehorrible jet-, sort of, lake-motorcycles,whizzing towards us. That was an awfulmoment.

Interviewer It was a shock for the system.Noel It was, absolutely.Interviewer Another interesting thing you were telling me

earlier is the fact that the water is moving at agreat speed and yet the waves remain thesame, they’re always at the same place andthe same height.

Noel Yes, that was, I think, the most immediatelysurprising thing for me, I mean, I suppose,were I more of a scientist, I would haveanticipated it, but, of course, the waves areformed by either bits of particularly hard rockwhere the river’s literally quite pinched, orwhere a rock may have tumbled. Most ofthese cascades or rapids are a century old, buta lot of the rock falls are more recent. Therewas one especially, which had fallen in about1969, and this was this sort of great crystalrapid. We actually got off the boat to take abetter look at it and climb up on the bank andit didn’t really look quite as menacing as it didfrom the river. But by that time we’d learnt,most of us, to be quite frightened of the powerof this place. We were in motor launches andI suppose the manly thing to do, or womanlything – a lot of the guides were women – is toactually paddle down the River Colorado. Butthe river still has such force that it can, andalmost did, flip over one of the two boats wewere with. And I was only able to surmise thatwhen one of our guides, Johnny, came off theboat and, of course, swaggered, as was hispublic persona. He then moved about ahundred yards down the cliff ledge to thenquiver and shake in the company of other

inwardly than anybody else does. I recognisethat this may make it difficult for me to seewhere cuts and changes need to be made.

Jane On the other hand, we’ve got unused reservesof information about these characters and thestories, which nobody else has, which we candraw on.

David I guess it depends on the novel, doesn’t it.

PAUSE 10 seconds

Now you’ll hear Part Four again.

TONE

REPEAT Part Four

PAUSE 5 seconds

That’s the end of Part Four.

There’ll now be a pause of five minutes foryou to copy your answers onto the separateanswer sheet. Be sure to follow the numberingof all the questions. I’ll remind you whenthere is one minute left, so that you’re sure tofinish in time.

PAUSE 4 minutes

You have one more minute left.

PAUSE 1 minute

That’s the end of the test. Please stop now.Your supervisor will now collect all thequestion papers and answer sheets.

television or film, that as a novelist, you aretotally in control and totally responsible forthe product, while with a television adaptationyou’re involved with a lot of other creativepeople and you have to be in dialogue withthem all the time.

Jane And that means compromising in a waywhich perhaps we are not used to having todo. And although I’ve fought and squealedover it, I suspect that it’s probably good forone as a writer to have to actually do that.

David Speaking as a novelist who has never beenparticularly harshly edited, I found itextremely challenging to be hauled up overevery speech. Initially you feel kind ofinsulted but, in fact, it makes for better writingI think.

Jane When I first started writing for television, Isuffered from the temptation to be a controlfreak and to say what we should be looking atall the time …

David But that’s the Director’s job.Jane Exactly. But only obvious things, like looking

at other people’s television scripts and seeinghow they did it, gave me some clue as to howto go about it.

David The first adaptation I tried, I remember – itwas ludicrous! I just didn’t know what to doabout giving camera directions or anythinglike that. Obviously, there is a way of laying itout which you grasp quickly by looking atother writers’ TV scripts. I think it’s importantto imagine the story unfolding in dramatic andvisual terms in your head as you write.

Jane But for me, this ‘translating’ of things which Iheld to be central ideas into pictures, and howto use them as a way into the piece, was quitedifficult. I had to find that new way of lookingat it.

David Indeed, and in my case these were notnecessarily images which had existed at all inthe book. It’s a funny process. I’d be interestedto know how you do this, Jane. The first thingthat I found I had to do was simply to write alist of the main plot events so that you end upwith a kind of shopping list. Do you dosomething that crude or have you got a moresophisticated way?

Jane I think my method’s even cruder really. I gothrough the text and I make little marks in themargin about what I think must be in. Butreally it’s all in my head rather than on paper,the structure of the piece. I’ve just got afeeling for it. And sometimes it’s hard toaccept that my novel’s going into another artform.

David Well, I must admit, I do feel fairly possessiveabout my own work and I feel I know it more

PA P E R 5 S P E A K I N G

General Description

Paper Format

The paper contains three parts.

Task Types

The standard format for Paper 5 is two candidates and twoexaminers. Where there is an odd number of candidates at acentre, the format for the final test in an examining sessionwill be three candidates and two examiners.

One examiner acts as both assessor and interlocutor andmanages the interaction either by asking questions, settingup the tasks or providing cues for the candidates. The otheracts as assessor and does not join in the conversation.

The structure of Paper 5 requires candidates to speak mainlyto the interlocutor in Part 1, to each other in Part 2 and toeach other and the interlocutor in Part 3.

Timing

19 minutes.

Marks

Candidates are assessed on their performance throughout thetest.