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Section four and the directions say write one word and or a number.

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It's all in the blank.

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So we know.

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Yeah.

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The whole the whole thing is going to be.

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Switching the word order and using synonym language for the language before and after the blank lines.

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Okay.

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Now, I will say this about section number four.

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This.

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This is what you have to be careful with in terms of what they're doing in section number four, in

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section number four.

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They're doing a couple of things that make it difficult.

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One thing that they're doing that you have to be careful with and watch for is very often after they

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give an answer choice, they just keep talking, saying, saying more and saying they give more information

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than what's in the question.

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They'll give the answer and then they'll just keep talking for another ten or 15 seconds before they

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get to number 32.

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Right.

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Or sometimes, you know, like, for example, if we look if we look down at number 38.

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No.

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We look at number 36.

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Look at number 36.

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They're going to go through.

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You have 35.

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Then they have one, two, three, four lines of information before they get to number 36.

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Four lines of information before they get to number 36.

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The reason why they're doing that is on the ILS exam when it comes to part number four.

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One thing that they're testing you on is they're testing you on your ability to track.

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To track.

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To track what the person is saying.

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Meaning tracking means to stay with the lecturer.

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Stay with the speaker.

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Very often.

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That's what they're testing.

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So really when you're doing part number four.

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It really it really is is a combination of of two is really as two different things they're testing.

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One part of it is, of course, they're testing.

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Can you recognize when the answer is being said?

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That's part of it.

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Another part of it and why some students have a lot of difficulty with part number four is they they

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try to see if you can track what is being said.

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So very often, like with number 35.

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They'll give the answer for number 35 and then they'll just keep talking.

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For about 10 seconds.

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15, just talking.

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Right.

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And so you're going you're going to hear a lot of extra language that's not in the questions.

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All of that.

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What they do, the reason why they do that is this is how they separate people that are able to get

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a five, six or 6.5 in their listening from people that are able to get a seven, eight or nine in their

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listening.

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That's that's how they separate you.

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Because people that can get 7.58 in their listening can track what's being said.

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People that are able to only get like a sixth in their listening have a lot of trouble tracking.

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So that's part of it.

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And you need to make sure that you work on that.

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Okay.

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Does anybody have any questions before I start?

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Nope.

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Okay, let's start.

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Section four.

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You will hear a British University lecturer in music.

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Section four.

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You will hear a British University lecturer in music talking about concerts in an arts festival.

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First you have some time to look at questions.

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31 to 40.

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Now listen carefully and answer questions.

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31 to 40.

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As you will know, the university is planning an arts festival for later this year.

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And here in the music department, we've planned three concerts.

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These will be public performances and the program has just been finalised.

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The theme of the festival is links between the UK and Australia and this is reflected in the music.

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Each concert will feature both British and Australian composers.

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I'll tell you briefly about the Australian music, as you probably won't be familiar with that.

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The first concert will include music by Louisa Lim, who was born in Perth, Western Australia, in

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1966.

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As a child, Lim originally learned to play the piano like so many children and also the violin.

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But when she was 11, her teachers encouraged her to start composing.

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She found this was her real strength, and she studied and later taught composition both in Australia

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and in other countries.

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As a composer.

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She has received commissions from numerous orchestras, other performers and festivals in several countries.

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Eliza Lim's compositions are vibrant and full of energy, and she often explores Asian and Australian

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Aboriginal cultural sources, including the native instrument, the didgeridoo.

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This is featured in a work called The Compass.

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Her music is very expressive, so although it is complex, it has the power of connecting with audiences

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and performers alike.

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In the festival.

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We're going to give a semi-staged performance of the Oresteia.

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This is an opera in seven parts based on the trilogy of ancient Greek tragedies by Aeschylus.

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Lim composed this when she was in her mid-twenties, and she also wrote the text along with Barry Kosky.

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It's performed by six singers, a dancer and an orchestra that, as well as standard orchestral instruments,

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includes electric guitar and a traditional Turkish stringed instrument.

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Lim wrote that because the stories in the tragedies are not easy to tell, the sounds she creates are

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also disturbing, and they include breathing, sobbing, laughing and whistling.

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The work lasts around 75 minutes, and the rest of the concert will consist of orchestral works by the

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British composers Ralph Vaughan Williams and Frederick Delius.

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Moving on now to our second concert.

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This will begin with instrumental music by British composers Benjamin Britten and Judith Weir.

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After the interval we'll go to Australia for a piece by Ross Edwards, The Tower of Remoteness.

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According to Edwards, the inspiration for this piece came from nature when he was sitting alone in

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the dry bed of a creek overshadowed by the leaves of palm trees, listening to the birds and insects.

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The Tower of Remoteness is scored for piano and clarinet.

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Edwards says he realized years after writing the piece that he had subconsciously modeled its opening

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phrase on a bird call.

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Ross Edwards was born in 1943 in Sydney, Australia, and studied at the Sydney Conservatorium of Music

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and the Universities of Adelaide and Sydney.

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He's well known in Australia and in fact he's one of the country's most performed composers.

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He's written a wide range of music from symphonies and concertos to some composed specifically for children.

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Edwards.

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His music has been described as being deeply connected to Australia and it can be regarded as a celebration

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of the diversity of cultures that Australia can be proud of.

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The last of the three Australian composers to be represented in our festival is Carl Vine.

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Born in 1954.

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Vine like Louisa Lim comes from Perth, Western Australia.

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He took up the cornet at the age of five, switching to the piano.

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Five years later, however, he went to university to study physics before changing to composition.

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After graduating, he moved to Sydney and worked as a freelance pianist and composer.

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Before long, he had become prominent in Australia as a composer for dance and in fact has written 25

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scores of that type.

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In our third concert, Vine will be represented by his music for the flag handover ceremony of the Olympics

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held in 1996.

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This seven minute orchestral piece was, of course, heard by millions of people worldwide and will

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hear it alongside works written by British composers Edward Elgar and more recently, Thomas Ades.

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That is the end of Section four.

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You now have half a minute to check your answers.

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Okay, everybody, one moment.

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Okay, everybody.

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So did you.

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Did you hear what I was talking about?