Cambridge IELTS 14 Listening Test 3
4 parts · 40 questions · 30 minutes
An enquiry about conference facilities at a hotel
Questions 1–10
Complete the notes below. Write ONE WORD AND/OR A NUMBER for each answer.
Flanders Conference Hotel
Customer Services Manager: Angela
Date available
• weekend beginning February 4th
Conference facilities
• the (1) ………………………… room for talks
(projector and (2) ………………………… available)
• area for coffee and an (3) …………………………
• free (4) ………………………… throughout
• a standard buffet lunch costs $(5) ………………………… per head
Accommodation
• Rooms will cost $(6) ………………………… including breakfast.
Other facilities
• The hotel also has a spa and rooftop (7) …………………………
• There’s a free shuttle service to the (8) …………………………
Location
• Wilby Street (quite near the (9) …………………………)
• near to restaurants and many (10) …………………………
A talk about volunteering
Questions 11–12
Questions 11 and 12: Choose TWO letters, A–E.
11. Which TWO activities that volunteers do are mentioned? Activity selection (lower letter)
A decorating
B cleaning
C delivering meals
D shopping
E childcare
12. Which TWO activities that volunteers do are mentioned? Activity selection (higher letter)
A decorating
B cleaning
C delivering meals
D shopping
E childcare
Questions 13–14
Questions 13 and 14: Choose TWO letters, A–E.
13. Which TWO ways that volunteers can benefit from volunteering are mentioned? Benefit selection (lower letter)
A learning how to be part of a team
B having a sense of purpose
C realising how lucky they are
D improved ability at time management
E boosting their employment prospects
14. Which TWO ways that volunteers can benefit from volunteering are mentioned? Benefit selection (higher letter)
A learning how to be part of a team
B having a sense of purpose
C realising how lucky they are
D improved ability at time management
E boosting their employment prospects
Questions 15–20
What has each of the following volunteers helped someone to do? Choose SIX answers from the box and write the correct letter, A-G, next to Questions 15–20.
What volunteers have helped people to do
A overcome physical difficulties
B rediscover skills not used for a long time
C improve their communication skills
D solve problems independently
E escape isolation
F remember past times
G start a new hobby
15. Habib
16. Consuela
17. Minh
18. Tanya
19. Alexei
20. Juba
A trainee teacher discussing a school marching band
Questions 21–26
Complete the notes below. Write ONE WORD AND/OR A NUMBER for each answer.
Background on school marching band
It consists of around (21) ………………………… students.
It is due to play in a (22) ………………………… band competition.
It has been invited to play in the town’s (23) ………………………….
They have listened to a talk by a (24) ………………………….
Joe will discuss a (25) ………………………… with the band.
Joe hopes the band will attend a (26) ………………………… next month.
Questions 27–30
What problem does Joe mention in connection with each of the following band members? Choose FOUR answers from the box and write the correct letter, A-F, next to Questions 27–30.
Problems
A makes a lot of mistakes in rehearsals
B keeps making unhelpful suggestions
C has difficulty with rhythm
D misses too many rehearsals
E has a health problem
F doesn’t mix with other students
27. flautist
28. trumpeter
29. trombonist
30. percussionist
A lecture on concerts in a university arts festival
Questions 31–40
Complete the notes below. Write ONE WORD AND/OR A NUMBER for each answer.
Concerts in university arts festival
Concert 1
Australian composer: Liza Lim
studied piano and (31) ………………………… before turning to composition
performers and festivals around the world have given her a lot of commissions
compositions show a great deal of (32) ………………………… and are drawn from various cultural sources
her music is very expressive and also (33) …………………………
festival will include her (34) ………………………… called The Oresteia
Lim described the sounds in The Oresteia as (35) …………………………
British composers: Ralph Vaughan Williams, Frederick Delius
Concert 2
British composers: Benjamin Britten, Judith Weir
Australian composer: Ross Edwards
festival will include The Tower of Remoteness, inspired by nature
The Tower of Remoteness is performed by piano and (36) …………………………
compositions include music for children
celebrates Australia’s cultural (37) …………………………
Concert 3
Australian composer: Carl Vine
played cornet then piano
studied (38) ………………………… before studying music
worked in Sydney as a pianist and composer
became well known as composer of music for (39) …………………………
festival will include his music for the 1996 (40) …………………………
British composers: Edward Elgar, Thomas Adès
Answers
1. Tesla
2. microphone
3. exhibition
4. wifi
5. 45
6. 135
7. pool
8. airport
9. sea
10. clubs
11. decorating
12. childcare
13. having a sense of purpose
14. boosting their employment prospects
15. F
16. A
17. E
18. G
19. D
20. C
21. 50
22. regional
23. carnival
24. drummer
25. film
26. parade
27. D
28. B
29. E
30. F
31. violin
32. energy
33. complex
34. opera
35. disturbing
36. clarinet
37. diversity
38. physics
39. dance
40. Olympics
Explanations
- 1. Tesla
- The note reads 'the _____ room for talks', and Angela answers exactly that: 'for talks and presentations we have the Tesla room'. 'Talks and presentations' is the recording's version of the printed word 'talks', so the room named in that same sentence is the answer. The caller mishears and says 'Sorry?', which prompts Angela to spell it out — T-E-S-L-A — so the spelling is confirmed for you. Note the capital letter: it is a proper noun (the room is named after the inventor).Common trap: Spelled-out proper noun. The 'hundred people' capacity follows immediately and is the kind of concrete detail candidates latch onto, but the blank needs the room's name, not its size.
- 2. microphone
- The note already prints 'projector', so the blank must be the second piece of equipment. Angela mentions the projector at the end of her description of the Tesla room ('fully equipped with a projector and so on'), and it is the caller who then asks 'How about a microphone?' — Angela confirms it with 'that’ll be all set up ready for you', and adds there will be a second one for the audience to use for questions. The answer is therefore supplied by the caller and only confirmed by the hotel.Common trap: Answer in the question, not the reply. 'Projector' is spoken clearly just before the answer and is the word most listeners write — but it is already printed in the note, which is the signal to reject it.
- 3. exhibition
- The caller asks for 'some sort of open area where people can sit and have a cup of coffee' — that is the 'area for coffee' already printed — 'and we’d like to have an exhibition of our products and services there as well'. The words 'as well' mark the second thing wanted in that same space, which is what the blank asks for. Note the article 'an' before the gap: it confirms the answer begins with a vowel sound.Common trap: Distractor noun in the reply. Angela answers with 'a central atrium', a concrete and unfamiliar-sounding word that tempts candidates who wait for the hotel's reply rather than catching the caller's request — but the atrium is the space, not the thing held in it.
- 4. wifi
- Both qualifiers in the note are confirmed in Angela's reply: the caller asks 'I presume there’s wifi?' and she answers 'Oh yes, that’s free and available throughout the hotel'. 'Free' and 'throughout' match the note word for word, which makes this one of the most straightforward answers in the section — the only real risk is spelling.Common trap: No competing option here — the trap is spelling and format only ('wifi' as one word, as printed in the Cambridge key).
- 5. 45
- Angela offers a buffet lunch, the caller asks the price, and she replies 'I can send you a copy of the standard menu. That’s $45 per person.' The note's 'standard buffet lunch' matches 'the standard menu', and 'per head' matches 'per person'. The dollar sign is already printed, so only the number goes in the gap.Common trap: Distractor figure, and an increment rather than a price. '$25 more' is spoken in the very next breath, but it belongs to the special menu, not the standard one — and even for that menu the price would be $70, not $25. The caller then confirms 'I think the standard should be OK', which locks in $45.
- 6. 135
- Angela states the conference rate directly: 'for conference attendees we have a 25% reduction, so we can offer you rooms at $135'. The caller then asks 'does that include breakfast?' and she confirms 'Sure', which matches the note's 'including breakfast'. The figure is given, so there is nothing to calculate.Common trap: Two figures compete with the answer. '$180' is the normal rate quoted immediately after, and '25%' is a percentage, not a price. Together they invite candidates to do the arithmetic themselves instead of simply writing the figure Angela has already given.
- 7. pool
- The note prints 'a spa and rooftop _____', so the spa is accounted for and the blank is the second facility. Angela lists them in the same order: 'we’ve got a spa where you can get massages and facials and so on, and there’s a pool up on the roof'. 'Up on the roof' is the recording's version of the note's 'rooftop', so the noun that follows it is the answer.Common trap: Detail attached to the printed word. 'Massages and facials' expands on the spa, which is already in the note — candidates who write one of those have matched the wrong half of the sentence.
- 8. airport
- Asked about transport links, Angela says the hotel is 'about 12 kilometres from the airport, but there’s a complimentary shuttle bus for guests'. 'Complimentary' is the formal synonym for the note's 'free', and 'shuttle bus' matches 'shuttle service', so the destination named in that sentence is the answer.Common trap: Second transport link, wrong mode. The railway station is named in the very next sentence and is a plausible shuttle destination — but you reach it on foot ('ten minutes’ walk'), so no shuttle is involved.
- 9. sea
- Wilby Street is already printed, so the blank is what the hotel is close to. Angela says 'it’s not very far from the sea'. The double negative 'not very far from' has to be converted into the note's positive 'quite near' — the meaning is the same, but the wording is deliberately inverted.Common trap: Echo of the printed words. 'Quite a small street' reuses 'quite' and 'street' from the note, so listeners keying on those words land on the phrase just before the answer instead of the answer itself.
- 10. clubs
- Angela closes with two kinds of night-time venue: 'a huge choice of places to eat' — the restaurants already printed in the note — and then, 'if they want to make a night of it, they can go on to one of the clubs in the area – there are a great many to choose from'. 'A great many' matches the note's 'many'. Write the plural: the note's 'many' requires 'clubs', even though the recording says 'one of the clubs'.Common trap: Paraphrase of the printed word. 'Places to eat' is simply 'restaurants' reworded, so candidates who write 'restaurants' or 'places to eat' have filled the gap with something already given.
- 11. decorating
- Lucy lists what a volunteer supporting a struggling family might do, and the list divides into two kinds of help: advice and action. The advice is 'tips on cooking', 'how to plan their budget' and 'how to shop sensibly on their income'. The actions are 'some painting or wallpapering' — decorating (A) — and 'some babysitting' — childcare (E). Only the two actions answer the question 'activities that volunteers do'. The word 'decorating' itself is never spoken; you have to recognise painting and wallpapering as the things a decorator does.Common trap: Advice versus action. Cooking and shopping (options C and D) are both named in the sentence immediately before the answers, but as things the volunteer advises on — the question asks what volunteers do.
- 12. childcare
- The second thing volunteers actually do is 'some babysitting so that parents can go out for a while'. As with decorating, the option word 'childcare' is never spoken — the exam is testing whether you can map the everyday word 'babysitting' onto the formal category. The phrase 'or even do' parallels 'they might even do' in the previous sentence, which marks both as actions rather than advice.Common trap: Synonym recognition. Neither answer word appears in the recording, while the two distractor topics (cooking, shopping) are spoken almost verbatim as options C and D — the familiar words are the wrong ones.
- 13. having a sense of purpose
- Lucy turns from the people being helped to the volunteers themselves: 'The benefit from volunteering isn’t only for the people being helped. Volunteers also gain from it.' She then names two gains — a stronger CV when applying for jobs (E), and, flagged by 'Significantly', that 'most volunteers feel that what they’re doing gives them a purpose in their lives' (B). 'Gives them a purpose' maps directly onto 'having a sense of purpose'.Common trap: Speaker's opinion offered as a benefit. Option C is voiced in the sentence immediately after the answer and reuses the idea of luck, but 'in my opinion' marks it as Lucy's view about volunteers — the volunteers are never said to realise it themselves.
- 14. boosting their employment prospects
- The other stated gain is a career one: volunteering 'may be a valuable element of their CV when they’re applying for jobs: employers usually look favourably on someone who’s given up time to help others'. A CV that employers view favourably when you apply for jobs is exactly what 'boosting their employment prospects' means — but none of those three words is spoken, so the match has to be made through meaning.Common trap: Time mentioned, time management implied. Option D is built out of the earlier 'two or three hours every week' — hours are quantified, but no skill in managing them is ever claimed.
- 15. F
- Habib takes an elderly lady with early signs of dementia to the local community centre, where a group comes in to sing. The stated effect is the key: 'The songs take the listeners back to their youth' — being taken back to your youth is remembering past times (F). The added clause 'for a little while they can forget the difficulties that they face now' reinforces it: the value is in the memory, not the outing.Common trap: Social setting masking the real outcome. Going out weekly with other elderly people looks like E (escape isolation), and it is the first thing described — but the sentence that actually states what the lady gains is about her youth.
- 16. A
- Consuela helps 'a couple of people with similar difficulties, who had almost stopped walking altogether', and 'by using herself as an example' she 'encourages them to walk more and more'. People who had almost stopped walking and are now walking more and more are overcoming physical difficulties (A).Common trap: Wrong person. The first physical difficulty described belongs to Consuela, the volunteer — the question asks what she helped someone else to do, so you have to hold on until 'she helps a couple of people'.
- 17. E
- The young man Minh visits 'lives alone and can’t leave his home on his own, so he hardly ever saw anyone' — that is the isolation. What Minh changes is stated next: 'together they go out to the cinema, or to see friends the young man hadn’t been able to visit for a long time'. Getting out and seeing people again is escaping isolation (E).Common trap: Physical limitation that never gets solved. 'Can’t leave his home on his own' points to A (overcome physical difficulties), but nothing improves physically — he still goes out with Minh, not alone. The gain is social.
- 18. G
- Tanya shows the elderly woman some soft toys she has made, and 'the woman decided to try it herself. And now she really enjoys it, and spends hours making toys.' Something newly taken up, enjoyed and done for hours is a new hobby (G). The closing remark that her toys are 'not perhaps up to Tanya’s standard yet' confirms the woman is a beginner.Common trap: Skill belongs to the volunteer. Option B (rediscover skills not used for a long time) is tempting because a professional skill is mentioned — but it is Tanya's profession, and the woman is starting from scratch, not returning to something.
- 19. D
- Alexei is helping a family 'to realise that they aren’t helpless, and that they can do something themselves to improve their situation'. 'They can do something themselves' is the paraphrase of 'independently', and what they are tackling are the difficulties the family faces — so he has helped them solve problems independently (D).Common trap: Method mistaken for outcome. Alexei discusses possible solutions with them, which sounds like he supplies the answers — the stated result is the opposite: the family realise they can act for themselves.
- 20. C
- Juba works with a teenage girl with learning difficulties who 'wasn’t very good at talking to other people'. After patient work, 'now the girl is far better at expressing herself, and at understanding other people'. Expressing yourself and understanding others are the two halves of communication, so the answer is improved communication skills (C).Common trap: Starting problem sounds like isolation. Not talking to other people suggests E, and this is the last item, when candidates are tiring — but the girl's difficulty is with the act of communicating, and that is what improves.
- 21. 50
- Joe describes the band in one sentence containing three numbers: 'the band has students in it from all years, so they’re aged 11 to 18, and there are about 50 of them altogether'. The word 'altogether' is the marker — it signals the total number of members, which is what 'consists of around _____ students' asks for. 'About' matches the note's 'around'.Common trap: Three numbers in quick succession. '11 to 18' is an age range and '20' is the size of Joe's previous bands — only the figure attached to 'altogether' describes this band.
- 22. regional
- Joe sets up a contrast: 'They aren’t really good enough to enter national band competitions, but they’re in a regional one later in the term.' The contrast marker 'but' does the work — the level they are not at is national, the level they are entered for is regional. 'Later in the term' matches the note's 'due to play'.Common trap: Negated distractor spoken first. 'National band competitions' sits directly before the answer and matches the note's wording almost exactly, but it is ruled out by 'aren’t really good enough'.
- 23. carnival
- 'Now the town council’s organising a carnival in the summer, and the band has been asked to perform.' Every element of the note is matched: 'the town council' is 'the town’s', 'has been asked to perform' is 'has been invited to play'. Joe's doubt that they are 'up to it yet' does not change the fact of the invitation.Common trap: Two events, two different relationships. The parade (Q26) is the other event in this conversation, but the band only goes to watch it — the carnival is the one they have been invited to play in.
- 24. drummer
- The note's tense is the clue: 'have listened' means something already done. Joe says 'I played a recording I came across, of a drummer talking about how playing in a band had changed his life. I think it was an after-dinner speech.' A recording of someone talking, described as a speech, is the talk — and the speaker is a drummer.Common trap: Done versus planned. The film is the neighbouring activity, but it is introduced with 'I’m planning to' — only the recording has actually been played, which is what 'have listened to' requires.
- 25. film
- 'I’m planning to show them that old film from the 1940s ‘Strike Up the Band’, and talk about it with the students.' 'Talk about it with the students' is the paraphrase of 'discuss ... with the band', and the thing to be discussed is the film. The instruction allows one word and/or a number, so the title and the date are not wanted.Common trap: Neighbouring item, wrong tense. The recording is the other thing Joe has used with the band, but it has already been played and is not what he will discuss — and 'recording' would answer the wrong question anyway.
- 26. parade
- 'I’m hoping I can take some of the band to a parade that’s going to take place next month.' All three parts of the note match: 'I’m hoping' is 'Joe hopes', 'take some of the band to' is 'attend', and 'next month' is stated outright. Whether it happens depends on hiring coaches, but the note only records the hope.Common trap: Mirror image of Q23. The carnival is the other event, but it is in the summer and the band performs at it — 'next month' and 'attend' both point to the parade.
- 27. D
- The flautist 'says she loves playing in the band', but 'we rehearse twice a week after school, but she’s hardly ever there'. Rehearsing twice a week and hardly ever attending is missing too many rehearsals (D). Joe's closing remark — 'to be honest, I don’t believe her' — confirms the absences are the problem, not the excuses.Common trap: False health claim. 'She’s been ill' is spoken aloud and matches option E word for word — but it is the flautist's own excuse, and Joe explicitly says he does not believe it. Reported speech is not fact.
- 28. B
- The trumpeter 'thinks she’s the best musician in the band, though she certainly isn’t', and 'she’s always saying what she thinks other people should do, which makes my job pretty difficult'. Constantly telling others what they should do, in a way that hinders the teacher, is making unhelpful suggestions (B) — Lizzie's reply, 'She sounds a bit of a nightmare!', is about her manner, not her playing.Common trap: Hint at poor playing. 'Though she certainly isn’t' implies she is not a strong musician, which nudges towards A (mistakes) — but Joe never mentions mistakes, and the problem he actually raises is her behaviour towards others.
- 29. E
- The trombonist 'has breathing difficulties, and he doesn’t really have enough breath for the trombone'. Breathing difficulties are a health problem (E). Everything else in the sentence follows from it: he would do better on percussion, he refuses to give up, and so he only manages half the notes.Common trap: Two traps around one answer. 'Sense of rhythm' matches option C but is stated as a strength, not a difficulty; 'only playing half the notes' sounds like A (mistakes) but is the consequence of the health problem, not a separate fault.
- 30. F
- The percussionist 'isn’t too bad' as a player, but 'he never seems to interact with other people'. Joe spells out why this matters: 'it isn’t good in a band, where people really need to feel they’re part of a group'. Never interacting with others is not mixing with other students (F).Common trap: Leaving early is not being absent. 'Rushes off as soon as the rehearsal ends' contains the word 'rehearsal' and suggests option D, but he attends — he simply does not stay to socialise, which is the point of F.
- 31. violin
- 'As a child, Lim originally learned to play the piano – like so many children – and also the violin. But when she was 11 her teachers encouraged her to start composing.' Piano is printed in the note, so the blank is the second instrument, and 'but when she was 11 ... start composing' confirms both came before composition — matching 'before turning to composition'.Common trap: Printed word repeated aloud. 'Piano' is spoken clearly and is separated from the answer by the aside 'like so many children', so listeners who write the first instrument they hear are filling the gap with what is already given.
- 32. energy
- 'Liza Lim’s compositions are vibrant and full of energy, and she often explores Asian and Australian Aboriginal cultural sources.' The note follows the same sentence in the same order: 'full of' becomes 'show a great deal of', and the cultural sources clause is already printed, which confirms you are in the right sentence.Common trap: Second half of the sentence already given. The cultural-sources material is the printed part of the note, and the vivid detail 'didgeridoo' draws attention away from the one-word quality that belongs in the gap.
- 33. complex
- 'Her music is very expressive, so although it is complex, it has the power of connecting with audiences and performers alike.' 'Very expressive' is printed in the note, so the blank is the other quality — the one introduced by 'although'. The note's neutral 'and also' flattens the recording's concessive structure, which is what makes the word easy to miss.Common trap: Main clause outranks the answer. The memorable idea in this sentence is the music connecting with audiences, but that is the result — the quality paired with 'expressive' is buried in the subordinate 'although' clause.
- 34. opera
- The Oresteia is named, then defined: 'This is an opera in seven parts, based on the trilogy of ancient Greek tragedies by Aeschylus.' The note asks what kind of work it is, and 'an opera' is the answer. The supporting detail — six singers, a dancer and an orchestra — is consistent with an opera.Common trap: Competing labels either side of the answer. 'Semi-staged performance' describes how it will be staged at the festival, and 'trilogy'/'tragedies' describe Aeschylus's source plays — neither is the form of Lim's own work.
- 35. disturbing
- 'Lim wrote that because the stories in the tragedies are not easy to tell, the sounds she creates are also disturbing.' The note says 'Lim described', and 'Lim wrote that' marks this as her own account. The logic is causal: difficult stories produce disturbing sounds.Common trap: List of examples in place of the description. The four sounds follow immediately and are easy to catch, but they say what the sounds are — the note asks how Lim characterised them.
- 36. clarinet
- 'The Tower of Remoteness is scored for piano and clarinet.' 'Scored for' is the technical phrase for which instruments play a piece, matching the note's 'is performed by'. Piano is printed, so the blank is the second instrument.Common trap: Nature imagery crowding a short answer. The sentences either side are full of concrete nouns — palm trees, birds, insects, a bird call — and the note's own line already mentions nature, so the brief instrument name is easy to lose between them.
- 37. diversity
- Edwards's music 'can be regarded as a celebration of the diversity of cultures that Australia can be proud of'. 'A celebration of' becomes 'celebrates', and 'the diversity of cultures' is rewritten in the note as 'cultural diversity' — the same two words with the order and grammar reversed.Common trap: Quoted phrase just before the answer. 'Deeply connected to Australia' is a direct quotation and contains the word 'Australia' from the note, so it reads like the thing being celebrated — but the note needs the noun after 'cultural'.
- 38. physics
- 'However, he went to university to study physics, before changing to composition.' The contrast marker 'however' separates Vine's instruments from his degree: he played cornet and piano as a boy, but went to university for physics, and only then changed to composition. 'Changing to composition' is the note's 'before studying music'.Common trap: Printed line spoken aloud immediately before. Cornet and piano are already recorded in the note above, and 'switching to' echoes the structure of the answer sentence — but the gap needs an academic subject, not an instrument.
- 39. dance
- 'Before long he had become prominent in Australia as a composer for dance, and in fact has written 25 scores of that type.' 'Prominent' is the synonym of 'well known', and 'as a composer for dance' matches 'as composer of music for _____' almost word for word.Common trap: Number offered where a noun is wanted. '25 scores' follows straight after the answer, and this part of the test is dense with figures (1943, 1954, 1996), so a numerical answer feels natural here — but the note asks what the music was for.
- 40. Olympics
- 'Vine will be represented by his music for the flag hand-over ceremony of the Olympics held in 1996.' The note prints the year before the gap, while the recording puts it after the event ('the Olympics held in 1996'), so you have to hold the phrase in mind and reorder it. The answer takes a capital letter as the name of the event.Common trap: Reordered date plus a longer candidate answer. 'Flag hand-over ceremony' is the tempting fuller answer but breaks the one-word limit, and the following sentence's 'seven-minute' offers yet another number to confuse with 1996.
Audio transcripts
Part 1 — An enquiry about conference facilities at a hotel
ANGELA: Hello, Flanders conference hotel.
MAN: Oh, hi. I wanted to ask about conference facilities at the hotel. Have I come through to the right person?
ANGELA: You have. I’m the customer services manager. My name’s Angela. So how can I help you?
MAN: Well, I’m calling from Barrett and Stansons, we’re a medical company based in Perth.
ANGELA: Oh yes.
MAN: And we’re organising a conference for our clients to be held in Sydney. It’ll be held over two days and we’re expecting about fifty or sixty people.
ANGELA: When were you thinking of having it?
MAN: Some time early next year, like the end of January? It’d have to be a weekend.
ANGELA: Let me see … our conference facilities are already booked for the weekend beginning January 28th. We could do the first weekend in February?
MAN: How about January 21st?
ANGELA: I’m afraid that’s booked too.
MAN: Well, let’s go for the February date then.
ANGELA: So that’s the weekend beginning the 4th.
MAN: OK. Now can you tell me a bit about what conference facilities you have?
ANGELA: Sure. So for talks and presentations we have the Tesla room.
MAN: Sorry?
ANGELA: Tesla – that’s spelled T-E-S-L-A. it holds up to a hundred people, and it’s fully equipped with a projector and so on.
MAN: How about a microphone?
ANGELA: Yes, that’ll be all set up ready for you, and there’ll be one that members of the audience can use too, for questions, if necessary.
MAN: Fine. And we’ll also need some sort of open area where people can sit and have a cup of coffee, and we’d like to have an exhibition of our products and services there as well, so that’ll need to be quite a big space.
ANGELA: That’s fine, there’s a central atrium with all those facilities, and you can come before the conference starts if you want to set everything up.
MAN: Great. And I presume there’s wifi?
ANGELA: Oh yes, that’s free and available throughout the hotel.
MAN: OK.
ANGELA: Would you also like us to provide a buffet lunch? We can do a two-course meal with a number of different options.
MAN: What sort of price are we looking at for that?
ANGELA: Well, I can send you a copy of the standard menu. That’s $45 per person. Or you can have the special for $25 more.
MAN: I think the standard should be OK, but yes, send me the menu.
MAN: Now we’re also going to need accommodation on the Saturday night for some of the participants … I’m not sure how many, but probably about 25. So what do you change for a room?
ANGELA: Well, for conference attendees we have a 25% reduction, so we can offer you rooms at $135. Normally a standard room’s $180.
MAN: And does that include breakfast?
ANGELA: Sure. And of course, guests can also make use of all the other facilities at the hotel. So we’ve got a spa where you can get massages and facials and so on, and there’s a pool up on the roof for the use of guests.
MAN: Great. Now what about transport links? The hotel’s downtown, isn’t it?
ANGELA: Yes, it’s about 12 kilometres from the airport, but there’s a complimentary shuttle bus for guests. And it’s only about ten minutes’ walk from the central railway station.
MAN: OK. Now, I don’t know Sydney very well, can you just give me an idea of the location of the hotel?
ANGELA: Well, it’s downtown on Wilby Street, that’s quite a small street, and it’s not very far from the sea. And of course if the conference attendees want to go out on the Saturday evening there’s a huge choice of places to eat. Then if they want to make a night of it, they can go on to one of the clubs in the area – there are a great many to choose from.
MAN: OK. So if we go ahead with this, can you give me some information about how much …
Part 2 — A talk about volunteering
Good morning. My name’s Lucy Crittenden, and I’m the Director of Operations for an organisation that arranges volunteering in this part of the country. I’m hoping I can persuade one or two of you to become volunteers yourselves. Let me start by briefly explaining what we mean by volunteering.
Volunteers are teenagers and adults who choose to spend some time, unpaid, helping other people in some way. Most volunteers devote two or three hours to this every week, while a few do much more. The people they help may have physical or behavioural difficulties, for example.
Volunteers can do all sorts of things, depending on their own abilities and interests. If they’re supporting a family that’s struggling, for example, they may be able to give them tips on cooking, or recommend how to plan their budget or how to shop sensibly on their income. They might even do some painting or wallpapering, perhaps alongside any members of the family who are able to do it. Or even do some babysitting so that parents can go out for a while.
The benefit from volunteering isn’t only for the people being helped. Volunteers also gain from it: they’re using their skills to cope with somebody’s mental or physical ill health, and volunteering may be a valuable element of their CV when they’re applying for jobs: employers usually look favourably on someone who’s given up time to help others. Significantly, most volunteers feel that what they’re doing gives them a purpose in their lives. And in my opinion, they’re lucky in that respect, as many people don’t have that feeling.
Now I’d like to tell you what some of our volunteers have said about what they do, to give you an idea of the range of ways in which they can help people.
Habib supports an elderly lady who’s beginning to show signs of dementia. Once a week they, along with other elderly people, go to the local community centre, where a group of people come in and sing. The songs take the listeners back to their youth, and for a little while they can forget the difficulties that they face now.
Our volunteer Consuela is an amazing woman. She has difficulty walking herself, but she doesn’t let that stop her. She helps a couple of people with similar difficulties, who had almost stopped walking altogether. By using herself as an example, Consuela encourages them to walk more and more.
Minh visits a young man who lives alone and can’t leave his home on his own, so he hardly ever saw anyone. But together they go out to the cinema, or to see friends the young man hadn’t been able to visit for a long time.
Tanya visits an elderly woman once a week. When the woman found out that Tanya is a professional dressmaker, she got interested. Tanya showed her some soft toys she’d made, and the woman decided to try it herself. And now she really enjoys it, and spends hours making toys. They’re not perhaps up to Tanya’s standard yet, but she gains a lot of pleasure from doing it.
Alexei is a volunteer with a family that faces a number of difficulties. By calmly talking over possible solutions with family members, he’s helping them to realise that they aren’t helpless, and that they can do something themselves to improve their situation. This has been great for their self-esteem.
And the last volunteer I’ll mention, though there are plenty more, is Juba. She volunteers with a teenage girl with learning difficulties, who wasn’t very good at talking to other people. Juba’s worked very patiently with her, and now the girl is far better at expressing herself, and at understanding other people.
OK, I hope that’s given you an idea of what volunteering is all about. Now I’d like …
Part 3 — A trainee teacher discussing a school marching band
LIZZIE: So how are you getting on with your teaching practice at the High School, Joe?
JOE: Well I’ve been put in charge of the school marching band, and it’s quite a responsibility. I’d like to talk it over with you.
LIZZIE: Go ahead. You’d better start by giving me a bit of background.
JOE: OK. Well the band has students in it from all years, so they’re aged 11 to 18, and there are about 50 of them altogether. It’s quite a popular activity within the school. I’ve never worked with a band of more than 20 before, and this is very different.
LIZZIE: I can imagine.
JOE: They aren’t really good enough to enter national band competitions, but they’re in a regional one later in the term. Even if they don’t win, and I don’t expect them to, hopefully it’ll be an incentive for them to try and improve.
LIZZIE: Yes, hopefully.
JOE: Well, now the town council’s organising a carnival in the summer, and the band has been asked to perform. If you ask me, they aren’t really up to it yet, and I need to get them functioning better as a band, and in a very short time.
LIZZIE: Have you been doing anything with them? Apart from practising the music, I mean.
JOE: I played a recording I came across, of a drummer talking about how playing in a band had changed his life. I think it was an after-dinner speech. I thought it was pretty inspiring, because being in the band had stopped him from getting involved in crime. The students seemed to find it interesting, too.
LIZZIE: That’s good.
JOE: I’m planning to show them that old film from the 1940s ‘Strike Up the Band’, and talk about it with the students. What do you think?
LIZZIE: Good idea. As it’s about a school band, it might make the students realise how much they can achieve if they work together.
JOE: That’s what I’ve got in mind. I’m hoping I can take some of the band to a parade that’s going to take place next month. A couple of marching bands will be performing, and the atmosphere should be quite exciting. It depends on whether I can persuade the school to hire a coach or two to take us there.
LIZZIE: Mmm. They sound like good ideas to me.
JOE: Thanks.
JOE: Can I tell you about a few people in the band who I’m finding it quite difficult to cope with? I’m sure you’ll have some ideas about what I can do.
LIZZIE: Go ahead.
JOE: There’s a flautist who says she loves playing in the band. We rehearse twice a week after school, but she’s hardly ever there. Then she looks for me the next day and gives me a very plausible reason – she says she had to help her mother, or she’s been ill, but to be honest, I don’t believe her.
LIZZIE: Oh dear! Any more students with difficulties?
JOE: Plenty! There’s a trumpeter who thinks she’s the best musician in the band, though she certainly isn’t. She’s always saying what she thinks other people should do, which makes my job pretty difficult.
LIZZIE: She sounds a bit of a nightmare!
JOE: You can say that again. One of the trombonists has got an impressive sense of rhythm, and could be an excellent musician – except that he has breathing difficulties, and he doesn’t really have enough breath for the trombone. He’d be much better of playing percussion, for instance, but he refuses to give up. So he ends up only playing half the notes.
LIZZIE: I suppose you have to admire his determination.
JOE: Maybe. One of the percussionists isn’t too bad, but he never seems to interact with other people, and he always rushes off as soon as the rehearsal ends. I don’t know if there are family reasons, or what. But it isn’t good in a band, where people really need to feel they’re part of a group.
LIZZIE: Hmm.
JOE: There are others too, but at least that gives you an idea of what I’m up against. Do you have any thoughts about what I can do, Lizzie?
Part 4 — A lecture on concerts in a university arts festival
As you all know, the university is planning an arts festival for later this year, and here in the music department we’ve planned three concerts. These will be public performances, and the programme has just been finalised. The theme of the festival is links between the UK and Australia, and this is reflected in the music: each concert will feature both British and Australian composers. I’ll tell you briefly about the Australian music, as you probably won’t be familiar with that.
The first concert will include music by Liza Lim, who was born in Perth, Western Australia, in 1966. As a child, Lim originally learned to play the piano – like so many children – and also the violin. But when she was 11 her teachers encouraged her to start composing. She found this was her real strength, and she studied and later taught composition, both in Australia and in other countries. As a composer, she has received commissions from numerous orchestras, other performers and festivals in several countries.
Liza Lim’s compositions are vibrant and full of energy, and she often explores Asian and Australian Aboriginal cultural sources, including the native instrument, the didgeridoo: this is featured in a work called The Compass. Her music is very expressive, so although it is complex, it has the power of connecting with audiences and performers alike.
In the festival we’re going to give a semi-staged performance of The Oresteia. This is an opera in seven parts, based on the trilogy of ancient Greek tragedies by Aeschylus. Lim composed this when she was in her mid-20s, and she also wrote the text, along with Barrie Kosky. It’s performed by six singers, a dancer, and an orchestra that, as well as standard orchestral instruments, includes electric guitar, and a traditional Turkish stringed instrument. Lim wrote that because the stories in the tragedies are not easy to tell, the sounds she creates are also disturbing, and they include breathing, sobbing, laughing and whistling. The work lasts around 75 minutes, and the rest of the concert will consist of orchestral works by the British composers Ralph Vaughan Williams and Frederick Delius.
Moving on now to our second concert, this will begin with instrumental music by British composers – Benjamin Britten and Judith Weir. After the interval we’ll go to Australia for a piece by Ross Edwards: The Tower of Remoteness. According to Edwards, the inspiration for this piece came from nature, when he was sitting alone in the dry bed of a creek, overshadowed by the leaves of palm trees, listening to the birds and insects. The Tower of Remoteness is scored for piano and clarinet. Edwards says he realised years after writing the piece that he had subconsciously modelled its opening phrase on a bird call.
Ross Edwards was born in 1943 in Sydney, Australia, and studied at the Sydney Conservatorium of Music and the universities of Adelaide and Sydney. He’s well known in Australia, and in fact he’s one of the country’s most performed composers. He’s written a wide range of music, from symphonies and concertos to some composed specifically for children. Edward’s music has been described as being ‘deeply connected to Australia’, and it can be regarded as a celebration of the diversity of cultures that Australia can be proud of.
The last of the three Australian composers to be represented in our festival is Carl Vine. Born in 1954, Vine, like Liza Lim, comes from Perth, Western Australia. He took up the cornet at the age of five, switching to the piano five years later. However, he went to university to study physics, before changing to composition. After graduating he moved to Sydney and worked as a freelance pianist and composer. Before long he had become prominent in Australia as a composer for dance, and in fact has written 25 scores of that type.
In our third concert, Vine will be represented by his music for the flag hand-over ceremony of the Olympics held in 1996. This seven-minute orchestral piece was of course heard by millions of people worldwide, and we’ll hear it alongside works written by British composers Edward Elgar and, more recently, Thomas Adès.
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