Cambridge 10 Listening Test 3 Transcript

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Part 1 audio script of Early Learning Childcare Centre

DIRECTOR: Good morning. Welcome to the Early Learning Childcare Centre.

How may I help you?

CAROL: Hi. I spoke to you last week about enrolling my daughter to next
year.

DIRECTOR: Oh, yes. I’ll just get some details from you. So, you’re her mother?

CAROL: That’s right.

DIRECTOR: And, can I have your name?

CAROL: It’s Carol, Carol Smith. (Example)

DIRECTOR: And your daughter’s name?

CAROL: It’s Kate.

DIRECTOR: Now, we have several groups at the centre and we cater for
children from three to five years old. How old is your daughter?

CAROL: She’s three now but she turns four next month.

DIRECTOR: I’ll put four down because that’s how old she’ll be when she starts.

CAROL: Fine, she’s so excited about her birthday and coming to the centre.

DIRECTOR: That’s good to hear. And what’s your address?

CAROL: It’s 46 Wombat Road, that’s W-O-M-B-A-T. Woodside 4032.

DIRECTOR: And what’s the phone number?

CAROL: Oh … it’s … 3345 9865.

DIRECTOR: So, have you decided on the days you’d like to bring your daughter
here?

CAROL: I’d prefer Monday and Wednesday if possible.

DIRECTOR: Mmm. I’ll check, Monday’s fine, but I think the centre is already full
for Wednesday. Erm. Yes. Sorry. It seems to be a very popular day.
We can offer you a Thursday or a Friday as well.

CAROL: Oh dear. I suppose Thursday would be all right because she has
swimming on Friday.

DIRECTOR: OK, got that. Because a lot of parents work, we do offer flexible start
and finish times. We are open from 7:30 in the morning until 6
o’clock at night. What time would you like your daughter to start?

CAROL: I need to get to work in the city by 9:00 so I’ll drop her off at 8:30.
You’re pretty close to the city here so that should give me plenty of
time to get there.

DIRECTOR: That’s fine. Now, we also need to decide which group she’ll be in.
we have two different groups and they’re divided up according to
age. There’s the green group. Which is for three- to four-year-olds.
And then there’s the red group which is for four- to five-year-olds.

CAROL: She’s quite mature for her age and she can already write her name
and read a little.

DIRECTOR: Well, I’ll put her in the red group and we can always change her to
the green one if there are any problems.

CAROL: That sounds fine.

DIRECTOR: OK. Let’s move on to meals. We can provide breakfast, lunch and
dinner. As she’s finishing pretty early, she won’t need dinner, will
you give her breakfast before she comes?

CAROL: Yes, she’ll only need lunch.

DIRECTOR: Now, does she have any medical conditions we need to know
about? Does she have asthma or any hearing problems for
example?

CAROL: No. But she does need to wear glasses.

DIRECTOR: Oh, I’ll make a note of that.

CAROL: Yes, she’s pretty good about wearing them, she can’t see much
without them.

DIRECTOR: Right. OK. Now, I also need emergency contact details.

CAROL: So what sort of information do you need?

DIRECTOR: Just the name and number of a friend or family member we can
contact in case we can’t get hold of you at any time.

CAROL: OK. That’d better be my sister … Jenny Ball. That’s B-A-double L. Her
phone number is 3346 7523.

DIRECTOR: Great. So she is the child’s aunt?

CAROL: Yes, that’s right.

DIRECTOR: I’ll make a note of that as well. Now, is there anything you’d like to
ask?

CAROL: What about payment? How much are the fees each term?

DIRECTOR: Well, for two days and the hours you’ve chosen, that will be $450
altogether.

CAROL: OK, and do I have to pay that now?

DIRECTOR: No, we send out invoices once the children start at the centre. You
can choose to pay at the end of each term or we do offer a slightly
discounted rate if you pay every month.

CAROL: Oh, I’ll do that then. I find it easier to budget that way and I’m not
used to the term dates just yet.

DIRECTOR: Good, it makes it a lot simpler for us as well. Well, that’s everything.
Would you like me to show you around …?

Part 2 audio transcript of Dolphin Conservation Trust

INTERVIEWER: Today we’re pleased to have on the show Alice Bussell from
the Dolphin Conservation Trust. Tell us about the Trust, Alice.

ALICE: Well, obviously its purpose is to protect dolphins in seas all around
the world. It tries to raise people’s awareness of the problems these marine
creatures are suffering because of pollution and other threats. It started ten
years ago and it’s one of the fastest growing animal charities in the country –
although it’s still fairly small compared with the big players in animal protection.

We are particularly proud of the work we do in education – last year we visited a

huge number of schools in different parts of the country, going round to talk to
children and young people aged from five to eighteen.
In fact, about thirty-five per cent of our members are children. The charity uses
its money to support campaigns – for example, for changes in fishing policy and
so forth (Q11&Q12). It hopes soon to be able to employ its first full-time biologist
– with dolphin expertise – to monitor populations. Of course, many people give
their services on a voluntary basis and we now have volunteers working in
observation, office work and other things.

I should also tell you about the award we won from the Charity Commission last
year – for our work in education. Although it’s not meant an enormous amount
of money for us, it has made our activities even more widely publicised and
understood. In the long term it may not bring in extra members but we’re hoping
it’ll have this effect.

INTERVIEWER: Is it possible to see dolphins in UK waters?

ALICE: Yes. In several locations. And we have a big project in the east part of
Scotland. This has long been a haven for dolphins because it has very little
shipping. However, that may be about to change soon because oil companies
want to increase exploration there. We’re campaigning against this because,
although there’ll be little pollution from oil, exploration creates a lot of
underwater noise. It means the dolphins can’t rest and socialise.

This is how I became interested in dolphin conservation in the first place. I had
never seen one and I hadn’t been particularly interested in them at school. Then
I came across this story about a family of dolphins who had to leave their home
in the Moray Firth because of the oil companies and about a child who
campaigned to save them. I couldn’t put the book down – I was hooked.

INTERVIEWER: I’m sure our listeners will want to find out what they can do
to help. You mentioned the ‘Adopt a Dolphin’ scheme. Can you tell us about that?

ALICE: Of course! People can choose one of our dolphins to sponsor. They
receive a picture of it and news updates. I’d like to tell you about four which are
currently being adopted by our members: Moondancer, Echo, Kiwi and Samson.

Unfortunately, Echo is being rather elusive this year and hasn’t yet been sighted
by our observers but we remain optimistic that he’ll be out there soon. All the
others have been out in force – Samson and Moondancer are often photographed
together but it is Kiwi who’s our real ‘character’ as she seems to love coming up
close for the cameras and we’ve captured her on film hundreds of times.

They all have their own personalities – Moondancer is very elegant and curves
out and into the water very smoothly, whereas Samson has a lot of energy – he’s
always leaping out of the water with great vigour. You’d probably expect him to
be the youngest – he’s not quite – that’s Kiwi – but Samson’s the latest of our
dolphins to be chosen for the scheme.

Kiwi makes a lot of noise so we can often pick her out straightaway. Echo and
Moondancer are noisy too, but Moondancer’s easy to find because she has a
particularly large fin on her back, which makes her easy to identify. So, yes,
they’re all very different …

INTERVIEWER: Well, they sound a fascinating group …

Part 3 audio transcript of Theatre Studies Course

MIA Hi, Rob. How’s the course going?

ROB Oh, hi, Mia. Yeah, great. I can’t believe the first term’s nearly over.

MIA I saw your group’s performance last night at the student theatre. It was
good.

ROB Really? Yeah … but now we have to write a report on the whole thing, an
in-depth analysis. I don’t know where to start. Like, I have to write about
the role I played, the doctor, how I developed the character.

MIA Well, what was your starting point?

ROB Er … my grandfather was a doctor before he retired, and I just based it on

him.

MIA OK, but how? Did you talk to him about it?

ROB He must have all sorts of stories, but he never says much about his work,
even now. He has a sort of authority though.

MIA So how did you manage to capture that?

ROB I’d … I’d visualise what he must have been like in the past, when he was
sitting in his consulting room listening to his patients.

MIA OK, so that’s what you explain in your report.

ROB Right.

MIA Then there’s the issue of atmosphere – so in the first scene we needed to
know how boring life was in the doctor’s village in the 1950s, so when the
curtain went up on the first scene in the waiting room, there was that long
 silence before anyone spoke. And then people kept saying the same thing
over and over, like ‘Cold, isn’t it?’

ROB Yes, and everyone wore grey and brown, and just sat in a row.

MIA Yes, all those details of the production.

ROB And I have to analyse how I functioned in the group – what I found out
about myself. I know I was so frustrated at times, when we couldn’t agree.

MIA Yes. So did one person emerge as the leader?

ROB Sophia did. That was OK – she helped us work out exactly what to do, for
the production. And that made me feel better, I suppose.

MIA When you understood what needed doing?

ROB Yes. And Sophia did some research, too. That was useful in developing our
approach.

MIA Like what?

ROB Well, she found these articles from the 1950s about how relationships
between children and their parents, or between the public and people like
bank managers or the police were shifting.

MIA Interesting. And did you have any practical problems to overcome?

ROB Well, in the final rehearsal everything was going fine until the last scene –
what’s where the doctor’s first patient appears on stage on his own.

MIA The one in the wheelchair?

ROB Yes, and he had this really long speech, with the stage all dark except for
one spotlight – and then that stuck somehow so it was shining on the wrong side
of the stage … but anyway we got that fixed, thank goodness.

MIA Yes, it was fine on the night.

ROB But while you’re here, Mia. I wanted to ask you about the year abroad
option. Would you recommend doing that?

MIA Yes, definitely. It’s a fantastic chance to study in another country for a
year.

ROB I think I’d like to do it, but it looks very competitive – there’s only a limited
number of places.
MIA Yes, so next year when you are in the second year of the course, you need
to work really hard in all your theatre studies modules. Only students with good
marks get places – you have to prove that you know your subject really well.

ROB Right. So how did you choose where to go?

MIA Well, I decided I wanted a programme that would fit in with what I
wanted to do after I graduate, so I looked for a university with emphasis
on acting rather than directing for example. It depends on you. Then
about six months before you go, you have to email the scheme coordinator
with your top three choices. I had a friend who missed the deadline and
didn’t get her first choice, so you do need to get a move on at that stage.
You’ll find that certain places are very popular with everyone.

ROB And don’t you have to write a personal statement at that stage?

MIA Yes.

ROB Right. I’ll get some of the final year students to give me some tips … maybe
see if I can read what they wrote.

MIA I think that’s a very good idea. I don’t mind showing you what I did. And
while you’re abroad don’t make the mistake I made. I got so involved I
forgot all about making arrangements for when I came back here for the
final year. Make sure you stay in touch so they know your choices for the
optional modules. You don’t want to miss out doing your preferred
specialisms.

ROB Right.

Part 4 audio transcript of Self Regulatory Focus Theory

Today, I want to talk about self-regulatory focus theory and how the actions of
leaders can affect the way followers approach different situations. Self-
regulatory focus theory is a theory developed by Tori Higgins. He says that a
person’ focus at any given time is to either approach pleasure or avoid pain.
These are two basic motivations that each and every one of us has, and they
cause us to have different kinds of goals. Promotion goals in different life
situations emphasise achievement. Prevention goals are oriented towards the
avoidance of punishment.
In a specific situation, our thoughts might focus more on promotion goals or
more on prevention goals. The theory suggests that two factors affect which goals
we are focusing on. First, there is a chronic factor. This factor is connected to a
person’s personality and says that each person has a basic tendency to either
focus more on promotion goals or focus more on prevention goals as part of his
or her personality.

Second, there is a situational factor which means that the context we are in can
make us more likely to focus on one set of goals or the other. For example, we
are more likely to be thinking about pleasure and to have promotion goals when
we are spending time with a friend. In contrast, if we are working on an
important project for our boss, we are more likely to try to avoid making
mistakes and therefore have more prevention goals in our mind.

Research has shown that the goals we are focusing on at a given time affect the
way we think. For example, when focusing on promotion goals, people consider
their ideal self, their aspirations and gains. They don’t think about what they can
lose, so they think in a happier mode. They feel more inspired to change.

When people are focusing on prevention goals, they think about their “ought”
self. What are they supposed to be? What are people expecting from them? They
consider their obligations to others. As a result, they experience more anxiety
and try to avoid situations where they could lose.

Now that I have talked about the two focuses and how they affect people, I want
to look at the idea that the way leaders behave, or their style of leading, can
affect the focus that followers adopt in a specific situation. In talking about
leadership, we often mention transformational leaders and transactional
leaders. Transformational leaders, when interacting with their followers, focus
on their development.

In their words and actions transformational leaders highlight change. Their

speech is passionate and conveys a definitive vision. All of these things can
encourage followers to think about what could be. In other words, they inspire a
promotion focus in their followers.

In contrast, transactional leaders focus on developing clear structures that tell

their followers exactly what is expected of them. While they do explain the
rewards people will get for following orders, they emphasise more how a
follower will be punished or that a follower won’t get rewarded if his or her
behaviour doesn’t change. In short, they emphasise the consequences of making
a mistake. This emphasis will clearly lead followers to focus on avoiding
punishment and problems. This is clearly a prevention focus.

In conclusion, it is important to understand that one focus is not necessarily

better than the other one. For a designer who works in a field where a lot
of innovation is needed, a promotion focus is probably better. In contrast, a
prevention focus which causes people to work more cautiously and produce
higher quality work might be very appropriate for a job like a surgeon, for
example. The main point of the research, though, is that the actions of leaders
can greatly influence whether people approach a situation with more of a
promotion focus or more of a prevention focus.