page 336/507 pdf 227 – Kaplan Test Prep. IELTS Premier with 8 Practice Tests 2016, 3rd – 505p.

pdf

You should spend about 20 minutes on ,

which are based on Reading Passage 4 below.

Research using twins

rû"sî:tÐ "ju:zûÅ twûnz

To biomedical researchers all over the world,

t| baûë|"medûkÊl rû"sî:tÐëz é:l "ë|vë ðë wî:ld

twins offer a precious opportunity

twûnz "ãfër ë "preÐës ;ãpë"tju:nÂti

to untangle the influence of genes and the environment –

t| ;šn"tæÅgÊl ði "ûnfluëns ëv dži:nz ënd ði ûn"vaûrënmënt

of nature and nurture.

ëv "neûtÐër ënd "nî:tÐë

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Because identical twins come from a single fertilized egg that
bû"kãz aû"dentûkÊl twûnz kšm frëm ë "sûÅgÊl "fî:tÂlaûzd eg ðæt

splits into two, they share virtually the same genetic code.
splûts "ûntë tu: ðeû Ðeë "vî:tÐuëli ðë seûm džÂ"netûk kë|d

Any differences between them –

"eni "dûfÊrënsÂz bû"twi:n ðëm

one twin having younger looking skin, for example –

wšn twûn "hævûÅ "jšÅgë "l|kûÅ skûn fé:r ûg"zä:mpÊl

must be due to environmental factors

mšst bi: dju: t| ûn;vaûrën"mentl< "fæktëz

such as less time spent in the sun.

sštÐ ëz les taûm spent ûn ðë sšn

Alternatively, by comparing the experiences of identical twins

é:l"tî:nëtûvli baû këm"peërûÅ ði ûk"spûëriënsûz ëv aû"dentûkÊl twûnz

with those of fraternal twins, who come from separate eggs

wûð ðë|z ëv frë"tî:nl twûnz hu: kšm frëm "sepÊrÂt egz

and share on average half their DNA,

ënd Ðeër ãn "ævÊrûdž hä:f ðeë ;di: en "eû<

researchers can quantify the extent to which

rû"sî:tÐëz kën "kwãntÂfaû ði ûk"stent të wûtÐ

our genes affect our lives.

a|ë dži:nz ë"fekt a|ë laûvz

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If identical twins are more similar to each other
ûf aû"dentûkÊl twûnz ä: mé: "sûmÊlë t| i:tÐ "šðë

with respect to an ailment than fraternal twins are,

wûð rû"spekt t| ën "eûlmënt ðÊn frë"tî:nl twûnz ä:

then vulnerability to the disease must be rooted

ðen ;všlnÊrë"bûlÂti të ðë dû"zi:z mšst bi: "ru:tÂd

at least in part in heredity.

ët li:st ûn pä:t ûn hÂ"redÂti

These two lines of research - studying the differences

ði:z tu: laûnz ëv rû"sî:tÐ "stšdi-ûÅ ðë "dûfÊrënsûz

between identical twins to pinpoint the influence of environment,

bû"twi:n aû"dentûkÊl twûnz të "pûnpéûnt ði "ûnfluëns ëv ûn"vaûrënmënt

and comparing identical twins with fraternal ones

ënd këm"peërûÅ aû"dentûkÊl twûnz wûð frë"tî:nl wšnz

to measure the role of inheritance –

të "mežë ðë rë|l ëv ûn"herÂtëns

have been crucial to understanding the interplay of nature and nurture

hëv bi:n "kru:ÐÊl t| ;šndë"stændûÅ ði "ûntëpleû ëv "neûtÐë ënd "nî:tÐë

in determining our personalities, behavior,

ûn dû"tî:mÂnûÅ a|ë ;pî:së"nælÂtiz bû"heûvjë

and vulnerability to disease.

ënd ;všlnÊrë"bûlÂti të dû"zi:z

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The idea of using twins to measure the influence of heredity
ði aû"dûë ëv "ju:zûÅ twûnz të "mežë ði "ûnfluëns ëv hÂ"redÂti

dates back to 1875,

deûts bæk t| ;eû"ti:n< "sevÊnti faûv

when the English scientist Francis Galton first suggested the approach
wen ðë "ûÅglûÐ "saûëntÂst "frä:ntsûs "gé:ltën fî:st së"džestÂd ði ë"prë|tÐ

(and coined the phrase 'nature and nurture').

ënd kéûnd ðë freûz "neûtÐër ënd "nî:tÐë

But twin studies took a surprising twist in the 1980s,

bšt twûn "stšdiz t|k ë së"praûzûÅ twûst ûn ðë ;naûn"ti:n< "eûtiz

with the arrival of studies into identical twins

wûð ði ë"raûvÊl ëv "stšdiz "ûnt| aû"dentûkÊl twûnz

who had been separated at birth and reunited as adults.

hu: hëd bi:n "sepëreûtÂd ët bî:Ø ënd ;ri:ju:"naûtÂd ëz "ædšlts

Over two decades 137 sets of twins eventually

"ë|vë tu: "dekeûdz wšn "hšndrÂd "Øî:ti "sevÊn sets ëv twûnz û"ventÐuëli

visited Thomas Bouchard's lab in what became known as

"vûzÂtûd "tãmës "bu:Ðä:z læb ûn wãt bû"keûm në|n ëz

the Minnesota Study of Twins Reared Apart.

ðë ;mûnû"së|të "stšdi ëv twûnz rûëd ë"pä:t

Numerous tests were carried out on the twins,

"nju:mÊrës tests wî: "kærid a|t ãn ðë twûnz

and they were each asked more than 15,000 questions.

ënd ðeû wî:r i:tÐ ä:skt mé: ðÊn ;fûf"ti:n<"Øa|zÊnd "kwestÐÊnz

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Bouchard and his colleagues used this mountain of data to identify
"bu:Ðä: ënd hûz "kãli:gz ju:zd ðûs "ma|ntÂn ëv "deûtë t| aû"dentÂfaû

how far twins were affected by their genetic makeup.

ha| fä: twûnz wî:r ë"fektÂd baû ðeë džÂ"netûk "meûkšp

The key to their approach was a statistical concept

ðë ki: të ðeër ë"prë|tÐ wëz ë stë"tûstûkl "kãnsept

called heritability.
ké:ld "herÂtë"bûlÂti

In broad terms, the heritability of a trait measures

ûn bré:d tî:mz ðë "herÂtë"bûlÂti ëv ë treût "mežëz

the extent to which differences among members of a population

ði ûk"stent të wûtÐ "dûfÊrënsÂz ë"mšÅ "membëz ëv ë ;pãpjÁ"leûÐÊn

can be explained by differences in their genetics.

kën bi: ûk"spleûnd baû "dûfÊrënsÂz ûn ðeë džÂ"netûks

And wherever Bouchard and other scientists looked, it seemed,

ænd weër"evë "bu:Ðä: ënd "šðë "saûëntÂsts l|kt ût si:md

they found the invisible hand of genetic influence

ðeû fa|nd ði ûn"vûzÂbÊl hænd ëv džÂ"netûk "ûnfluëns

helping to shape our lives.

"helpûÅ të Ðeûp a|ë laûvz

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Lately, however, twin studies have helped lead scientists to
"leûtli ha|"evë twûn "stšdiz hëv helpt li:d "saûëntÂsts t|

a radical new conclusion:

ë "rædûkÊl nju: kën"klu:žÊn

that nature and nurture are not the only elemental forces at work.
ðæt "neûtÐër ënd "nî:tÐër ä: nãt ði "ë|nli ;elÂ"mentl< "fé:sÂz ët wî:k

According to a recent field called epigenetics,

ë"ké:dûÅ t| ë "ri:sÊnt fi:ld ké:ld ;epûdžÂ"netûks

there is a third factor also in play,

ðeër ûz ë Øî:d "fæktër "é:lsë| ûn pleû

one that in some cases serves as a bridge

wšn ðæt ûn sšm "keûsÂz sî:vz ëz ë brûdž

between the environment and our genes,

bû"twi:n ði ûn"vaûrënmënt ënd a|ë dži:nz

and in others operates on its own to shape who we are.

ënd ûn "šðëz "ãpëreûts ãn ûts ë|n të Ðeûp hu: wi: ä:

Epigenetic processes are chemical reactions tied to neither nature

;epûdžÂ"netûk "prë|sesûz ä: "kemûkÊl ri"ækÐÊnz taûd të "naûðë "neûtÐë

nor nurture but representing what researchers have called

né: "nî:tÐë bšt ;reprû"zentûÅ wãt rû"sî:tÐëz hëv ké:ld

a 'third component'.
ë Øî:d këm"pë|nënt

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These reactions influence how our genetic code is expressed:
ði:z ri"ækÐÊnz "ûnfluëns ha| a|ë džÂ"netûk kë|d ûz ûk"sprest

how each gene is strengthened or weakened,

ha| i:tÐ dži:n ûz "streÅØÊnd é: "wi:kënd

even turned on or off, to build our bones, brains

"i:vÊn tî:nd ãn é:r ãf të bûld a|ë bë|nz breûnz

and all the other parts of our bodies.

ænd é:l ði "šðë pä:ts ëv a|ë "bãdiz

If you think of our DNA as an immense piano keyboard

ûf ju: ØûÅk ëv a|ë ;di: en "eû< æz ën û"mens pi"ænë| "ki:bé:d

and our genes as the keys –

ënd a|ë dži:nz ëz ðë ki:z

each key symbolizing a segment of DNA

i:tÐ ki: "sûmbëlaûzûÅ ë "segmënt ëv ;di: en "eû<

responsible for a particular note, or trait,

rû"spãnsÂbÊl fé:r ë pë"tûkjÁlë në|t é: treût

and all the keys combining to make us who we are –

ënd é:l ðë ki:z këm"baûnûÅ të meûk ës hu: wi: ä:

then epigenetic processes determine when and how

ðen ;epûdžÂ"netûk "prë|sesÂz dû"tî:mÂn wen ënd ha|

each key can be struck, changing the tune being played.

i:tÐ ki: kën bi: stršk "tÐeûndžûÅ ðë tju:n "bi:ûÅ pleûd

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One way the study of epigenetics is revolutionizing
wšn weû ðë "stšdi ëv ;epûdžÂ"netûks ûz ;revë"lu:ÐënaûzûÅ

our understanding of biology is by revealing a mechanism by which

a|ër ;šndë"stændûÅ ëv baû"ãlëdži ûz baû rû"vi:lûÅ ë "mekënûzÊm baû wûtÐ

the environment directly impacts on genes.

ði ûn"vaûrënmënt dÂ"rektli "ûmpækts ãn dži:nz

Studies of animals, for example, have shown that

"stšdiz ëv "ænÂmÊlz fé:r ûg"zä:mpÊl hëv Ðë|n ðæt

when a rat experiences stress during pregnancy,

wen ë ræt ûk"spûëriënsÂz stres "dj|ërûÅ "pregnënsi

it can cause epigenetic changes in a fetus

ût kën ké:z ;epûdžÂ"netûk "tÐeûndžÂz ûn ë "fi:tës

that lead to behavioral problems as the rodent grows up.

Ðæt li:d të bû"heûvjërël "prãblëmz æz ðë "rë|dÊnt grë|z šp

Other epigenetic processes appear to occur randomly,

"šðë ;epûdžÂ"netûk "prë|sesÂz ë"pûë t| ë"kî: "rændëmli

while others are normal,

waûl "šðëz ä: "né:mÊl

such as those that guide embryonic cells

sštÐ ëz ðë|z ðæt gaûd ;embri"ãnûk< selz

as they become heart, brain, or liver cells, for example.

æz ðeû bû"kšm hä:t breûn é: "lûvë selz fé:r ûg"zä:mpÊl

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Geneticist Danielle Reed has worked with many twins over the years
džÂ"netÂsÂst ;dæni"el ri:d hëz wî:kt wûð "meni twûnz "ë|vë ðë jûëz

and thought deeply about what twin studies have taught us.
ënd Øé:t "di:pli ë"ba|t wãt twûn "stšdiz hëv té:t ës

'It's very clear when you look at twins that much of what
ûts "veri klûë wen ju: l|k ët twûnz ðæt mštÐ ëv wãt

they share is hardwired,' she says.

ðeû Ðeër ûz "hä:dwaûëd Ði: sez

'Many things about them are absolutely the same and unalterable.
"meni ØûÅz ë"ba|t ðëm ä:r "æbsëlu:tli ðë seûm ënd šn"é:ltÊrëbÊl

But it's also clear, when you get to know them,

bšt ûts "é:lsë| klûë wen ju: get të në| ðëm

that other things about them are different.

ðæt "šðë ØûÅz ë"ba|t ðëm ä: "dûfÊrënt

Epigenetics is the origin of a lot of those differences, in my view.'

;epûdžÂ"netûks ûz ði "ãrÂdžÂn ëv ë lãt ëv ðë|z "dûfÊrënsûz ûn maû vju:

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Reed credits Thomas Bouchard's work for today's surge in twin studies.
ri:d "kredÂts "tãmës "bu:Ðä:z wî:k fé: të"deûz sî:dž ûn twûn "stšdiz

'He was the trailblazer,' she says.

hi: wëz ðë "treûl;bleûzë Ði: sez

'We forget that 50 years ago things like heart disease

wi: fë"get ðæt "fûfti jûëz ë"gë| ØûÅz laûk hä:t dû"zi:z

were thought to be caused entirely by lifestyle.

wî: Øé:t të bi: ké:zd ûn"taûëli baû "laûfstaûl

Schizophrenia was thought to be due to poor mothering.

;skûtsë|"fri:nië wëz Øé:t të bi: dju: të pé: "mšðërûÅ

Twin studies have allowed us to be more reflective about

Twûn "stšdiz hëv ë"la|d ës të bi: mé: rû"flektûv ë"ba|t

what people are actually born with and what's caused by experience.'
wãt "pi:pÊl ä:r "æktÐuëli bé:n wûð ënd wãts ké:zd baû ûk"spûëriëns

Having said that, Reed adds, the latest work in epigenetics

"hævûÅ sed ðæt ri:d ædz ðë "leûtÂst wî:k ûn ;epÂdžÂ"netûks

promises to take our understanding even further.

"prãmÂsûz të teûk a|ër ;šndë"stændûÅ "i:vÊn "fî:ðë

'What I like to say is that nature writes some things in pencil

wãt aû laûk të seû ûz ðæt "neûtÐë raûts sšm ØûÅz ûn "pensÊl

and some things in pen,' she says.

ënd sšm ØûÅz ûn pen Ði: sez

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'Things written in pen you can't change. That's DNA.
ØûÅz "rûtn ûn pen ju: kä:nt tÐeûndž ðæts ;di: en "eû<

But things written in pencil you can. That's epigenetics.

bšt ØûÅz "rûtn ûn "pensÊl ju: kæn ðæts ;epÂdžÂ"netûks

Now that we're actually able to look at the DNA

na| ðæt wûër "æktÐuëli "eûbÊl të l|k ët ði ;di: en "eû<

and see where the pencil writings are,

ënd si: weë ðë "pensÊl "raûtûÅz ä:

it's sort of a whole new world.'

ûts sé:t ëv ë hë|l nju: wî:ld

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Do the following statements agree with the information given in Reading Passage 4?
In boxes 41-44 on your answer sheet, write

if the statement agrees with the information

if the statement contradicts the information

if there is no information on this

41 There may be genetic causes for the differences in how young the skin of identical twins looks.

..................................................................................................

42 Twins are at greater risk of developing certain illnesses than non-twins.

..................................................................................................

43 Bouchard advertised in newspapers for twins who had been separated at birth.

..................................................................................................

44 Epigenetic processes are different from both genetic and environmental processes.

..................................................................................................

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Look at the following statements (Questions 45-49) and the list of researchers below.
Match each statement with the correct researcher, , or .
Write the correct letter, , or , in boxes 45-49 on your answer sheet.
NB You may use any letter more than once.

Francis Galton

Thomas Bouchard

Danielie Reed

45 invented a term used to distinguish two factors affecting human characteristics

..................................................................................................

46 expressed the view that the study of epigenetics will increase our knowledge

..................................................................................................

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47 developed a mathematical method of measuring genetic influences

..................................................................................................

48 pioneered research into genetics using twins

..................................................................................................

49 carried out research into twins who had lived apart

..................................................................................................

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Complete the summary using the list of words, - , below.
Write the correct letter, - , in boxes 50-53 on your answer sheet.

nurture organs code

chemicals environment behaviour/behavior

Epigenetic processes
In epigenetic processes, 50 ................... influence the activity of our genes,
for example in creating our internal 51 ...................

The study of epigenetic processes is uncovering a way in which our genes can be affected by
our 52 ...................

One example is that if a pregnant rat suffers stress, the new-born rat may later show problems in
its 53 ...................

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readings 456 Page 16 of 50
readings 456 Page 17 of 50
 You should spend about 20 minutes on ,
which are based on Reading Passage 5 below.

An Introduction to Film Sound

ën ;ûntrë"dškÐÊn të fûlm sa|nd

Though we might think of film as an essentially visual experience,

ðë| wi: maût ØûÅk ëv fûlm ëz ën û"senÐÊli "vûžuël ûk"spûëriëns

we really cannot afford to underestimate the importance of film sound.

wi: "rûëli "kænãt ë"fé:d t| ;šndër"estÂmeût ði ûm"pé:tÊns ëv fûlm sa|nd

A meaningful sound track is often as complicated as

ë "mi:nûÅfÊl sa|nd træk ûz "ãfÊn ëv "kãmplÂkeûtÂd ëz

the image on the screen,

ði "ûmûdž ãn ðë skri:n

and is ultimately just as much the responsibility of the director.

ënd ûz "šltÂmÂtli džëst ëz mštÐ ðë rû;spãnsÂ"bûlÂti ëv ðë dÂ"rektë

The entire sound track consists of three essential ingredients:

ði ûn"taûë sa|nd træk kën"sûsts ëv Øri: û"senÐÊl ûn"gri:diënts

the human voice, sound effects and music.

ðë "hju:mën véûs sa|nd û"fekts ënd "mju:zûk

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These three tracks must be mixed and balanced
ði:z Øri: træks mšst bi: mûkst ënd "bælënst

so as to produce the necessary emphases

së| æz të prë"dju:s ðë "nesÂsÊri "emfësÂs

which in turn create desired effects.

wûtÐ ûn tî:n kri"eût dû"zaûëd û"fekts

Topics which essentially refer to the three previously

"tãpûks wûtÐ û"senÐÊli rû"fî: të ðë Øri: "pri:viësli

mentioned tracks are discussed below.

"menÐÊnd træks ä: dû"skšst bû"lë|

They include dialogue, synchronous and asynchronous sound effects,

ðeû ûn"klu:d "daûëlãg "sûÅkrënës ënd eû"sûÅkrënës sa|nd û"fekts

and music.
ënd "mju:zûk

Let us start with dialogue.

let ës stä:t wûð "daûëlãg

As is the case with stage drama, dialogue serves to tell the story
æz ûz ðë keûs wûð steûdž "drä:më "daûëlãg sî:vz të tel ðë "sté:ri

and expresses feelings and motivations of characters as well.

ënd ûk"spresÂz "fi:lûÅz ënd ;më|tÂ"veûÐÊnz ëv "kærÂktëz ëz wel

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Often with film characterization the audience perceives little
"ãfÊn wûð fûlm ;kærÂktëraû"zeûÐÊn ði "é:diëns pë"si:vz "lûtl

or no difference between the character and the actor.

é: në| "dûfÊrëns bû"twi:n ðë "kærÂktër ënd ði "æktë

Thus, for example, the actor Humphrey Bogart

ðšs fé:r ûg"zä:mpÊl ði "æktë "hšmpfri "bë|gä:t

is the character Sam Spade;

ûz ðë "kærÂktë sæm speûd

film personality and life personality seem to merge.

fûlm ;pî:së"nælÂti ënd laûf ;pî:së"nælÂti si:m të mî:dž

Perhaps this is because the very texture of a performer's voice

pë"hæps ðûs ûz bû"kãz ðë "veri "tekstÐër ëv ë pë"fé:mëz véûs

supplies an element of character.

së"plaûz ën "elÂmënt ëv "kærÂktë

When voice textures fit the performer's physiognomy and gestures,

wen véûs "tekstÐëz fût ðë pë"fé:mëz ;fûzi"ãnëmi ënd "džestÐëz

a whole and very realistic persona emerges.

ë hë|l ënd "veri rûë"lûstûk pë"së|në û"mî:džûz

The viewer sees not an actor working at his craft,

ðë "vju:ë si:z nãt ën "æktë "wî:kûÅ ët hûz krä:ft

but another human being struggling with life.

bšt ë"nšðë "hju:mën "bi:ûÅ "stršgÊlûÅ wûð laûf

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It is interesting to note that how dialogue is used
ût ûz "ûntrÂstûÅ të në|t ðæt ha| "daûëlãg ûz ju:zd

and the very amount of dialogue used varies widely among films.
ënd ðë "veri ë"ma|nt ëv "daûëlãg ju:zd "veëriz "waûdli ë"mšÅ fûlmz

For example, in the highly successful

fé:r ûg"zä:mpÊl ûn ðë "haûli sëk"sesfÊl

science-fiction film 2001, little dialogue was evident,

"saûëns "fûkÐÊn fûlm tu: "Øa|zÊnd ënd wšn "lûtl "daûëlãg wëz "evÂdÊnt

and most of it was banal and of little intrinsic interest.

ënd më|st ëv ût wëz bë"nä:l ënd ëv "lûtl ûn"trûnsûk "ûntrÂst

In this way the film-maker was able to portray

ûn ðûs weû ðë fûlm "meûkë wëz "eûbÊl të pé:"treû

what Thomas Sobochack and Vivian Sobochack call,

wãt "tãmës "sãbtÐæk ënd "vûviën "sãbtÐæk ké:l

in An Introduction to Film, the 'inadequacy of human responses

ûn ën ;ûntrë"dškÐÊn të fûlm ði ûn"ædÂkwÂsi ëv "hju:mën rû"spãnsÂz

when compared with the magnificent technology created by man

wen këm"peëd wûð ðë mæg"nûfÂsÊnt tek"nãlëdži kri"eûtÂd baû mæn

and the visual beauties of the universe'.

ënd ðë "vûžuël "bju:tiz ëv ðë "ju:nÂvî:s

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The comedy Bringing Up Baby, on the other hand,
ðë "kãmÂdi "brûÅ-ûÅ šp "beûbi ãn ði "šðë hænd

presents practically non-stop dialogue delivered at breakneck speed.

prû"zents "præktûkli nãn stãp "daûëlãg dû"lûvëd ët "breûknek spi:d

This use of dialogue underscores not only the dizzy quality

ðûs ju:s ëv "daûëlãg ;šndë"ské:z nãt "ë|nli ðë "dûzi "kwãlÂti

of the character played by Katherine Hepburn,

ëv ðë "kærÂktë pleûd baû "kæØrûn "hepbî:n

but also the absurdity of the film itself and thus its humor.
bšt "é:lsë| ði ëb"sî:dëti ëv ðë fûlm ût"self ënd ðšs ûts "hju:më

The audience is bounced from gag to gag

ði "é:diëns ûz ba|nst frëm gæg të gæg

and conversation to conversation;

ënd ;kãnvë"seûÐÊn të ;kãnvë"seûÐÊn

there is no time for audience reflection.

ðeër ûz në| taûm fé:r "é:diëns rû"flekÐÊn

The audience is caught up in a whirlwind of activity

ði "é:diëns ûz ké:t šp ûn ë "wî:l;wûnd ëv æk"tûvÂti

in simply managing to follow the plot.

ûn "sûmpli "mænûdžûÅ të "fãlë| ðë plãt

This film presents pure escapism –

ðûs fûlm prû"zents pj|ër û"skeûpûzÊm

largely due to its frenetic dialogue.

"lä:džli dju: t| ûts frÂ"netûk "daûëlãg

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Synchronous sound effects are those sounds which are synchronized
"sûÅkrënës sa|nd û"fekts ä: ðë|z sa|ndz wûtÐ ä: "sûÅkrënaûzd

or matched with what is viewed.

é: mætÐt wûð wãt ûz vju:d

For example, if the film portrays a character playing the piano,

fé:r ûg"zä:mpÊl ûf ðë fûlm pé:"treûz ë "kærÂktë "pleûûÅ ðë pi"ænë|

the sounds of the piano are projected.

ðë sa|ndz ëv ðë pi"ænë| ä: "prãdžektÂd

Synchronous sounds contribute to the realism of film

"sûÅkrënës sa|ndz kën"trûbju:t të ðë "rûëlûzÊm ëv fûlm

and also help to create a particular atmosphere.

ënd "é:lsë| help të kri"eût ë pë"tûkjÁlër "ætmësfûë

For example, the 'click' of a door being opened may simply serve
fé:r ûg"zä:mpÊl ðë klûk ëv ë dé: "bi:ûÅ "ë|pënd meû "sûmpli sî:v

to convince the audience that the image portrayed is real,

të kën"vûns ði "é:diëns ðæt ði "ûmûdž pé:"treûd ûz rûël

and the audience may only subconsciously note the expected sound.
ënd ði "é:diëns meû "ë|nli sšb"kãnÐësli në|t ði ûk"spektÂd sa|nd

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However, if the 'click' of an opening door
ha|"evë ûf ðë klûk ëv ën "ë|pÊnûÅ dé:

is part of an ominous action such as a burglary,

ûz pä:t ëv ën "ãmÂnës "ækÐÊn sštÐ ëz ë "bî:glëri

the sound mixer may call attention to the 'click'

ðë sa|nd "mûksë meû ké:l ë"tenÐÊn të ðë klûk

with an increase in volume;

wûð ën ûn"kri:s ûn "vãlju:m

this helps to engage the audience in a moment of suspense.

ðûs helps t| ûn"geûdž ði "é:diëns ûn ë "më|mënt ëv së"spens

Asynchronous sound effects, on the other hand, are not matched

eû"sûÅkrënës sa|nd û"fekts ãn ði "šðë hænd ä: nãt mætÐt

with a visible source of the sound on screen.

wûð ë "vûzÂbÊl sé:s ëv ðë sa|nd ãn skri:n

Such sounds are included so as to provide

sštÐ sa|ndz ä:r ûn"klu:dÂd së| æz të prë"vaûd

an appropriate emotional nuance,

ën ë"prë|pri-Ât û"më|ÐÊnël "nju:ä:ns

and they may also add to the realism of the film.

ënd ðeû meû "é:lsë| æd të ðë "rûëlûzÊm ëv ðë fûlm

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For example, a film-maker might opt to include
fé:r ûg"zä:mpÊl ë fûlm "meûkë maût ãpt t| ûn"klu:d

the background sound of an ambulance's siren

ðë "bækgra|nd sa|nd ëv ën "æmbjÁlënsÂz "saûërën

while the foreground sound and image portrays an arguing couple.

waûl ðë "fé:gra|nd sa|nd ënd "ûmûdž pé:"treûz ën "ä:gju:ûÅ "kšpÊl

The asynchronous ambulance siren underscores

ði eû"sûÅkrënës "æmbjÁlëns "saûërën ;šndë"ské:z

the psychic injury incurred in the argument;

ðë "saûkûk "ûndžëri ûn"kî:d ûn ði "ä:gjÁmënt

at the same time the noise of the siren

ët ðë seûm taûm ðë néûz ëv ðë "saûërën

adds to the realism of the film by

ædz të ðë "rûëlûzÊm ëv ðë fûlm baû

acknowledging the film's city setting.

ëk"nãlûdžûÅ ðë fûlmz "sûti "setûÅ

We are probably all familiar with background music in films,

wi: ä: "prãbëbli é:l fë"mûlië wûð "bækgra|nd "mju:zûk ûn fûlmz

which has become so ubiquitous as to be noticeable in its absence.

wûtÐ hëz bû"kšm së| ju:"bûkwÂtës ëz të bi: "në|tÂsëbÊl ûn ûts "æbsÊns

We are aware that it is used to add emotion and rhythm.

wi: ä:r ë"weë ðæt ût ûz ju:zd t| æd û"më|ÐÊn ënd "rûðÊm

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Usually not meant to be noticeable,
"ju:žuëli nãt ment të bi: "në|tÂsëbÊl

it often provides a tone or an emotional attitude toward the story

ût "ãfÊn prë"vaûdz ë të|n é:r ën û"më|ÐÊnël "ætÂtju:d të"wé:d ðë "sté:ri

and /or the characters depicted.

ënd é: ðë "kærÂktëz dû"pûktÂd

In addition, background music often foreshadows a change in mood.

ûn ë"dûÐÊn "bækgra|nd "mju:zûk "ãfÊn fé:"Ðædë|z ë tÐeûndž ûn mu:d

For example, dissonant music may be used in film

fé:r ûg"zä:mpÊl "dûsënëns "mju:zûk meû bi: ju:zd ûn fûlm

to indicate an approaching (but not yet visible) menace or disaster.

t| "ûndÂkeût ën ë"prë|tÐûÅ bšt nãt jet "vûzÂbÊl "menÂs é: dû"zä:stë

Background music may aid viewer understanding by linking scenes.

"bækgra|nd "mju:zûk meû eûd "vju:ër ;šndë"stændûÅ baû "lûÅkûÅ si:nz

For example, a particular musical theme associated with

fé:r ûg"zä:mpÊl ë pë"tûkjÁlë "mju:zûkÊl Øi:m ë"së|ÐieûtÂd wûð

an individual character or situation may be repeated

ën ;ûndÂ"vûdžuël< "kærÂktër é: ;sûtÐu"eûÐÊn meû bi: rû"pi:tÂd

at various points in a film in order to remind

ët "veëriës péûnts ûn ë fûlm ûn "é:dë të rû"maûnd

the audience of salient motifs or ideas.

ði "é:diëns ëv "seûliënt më|"ti:fs é:r aû"dûëz

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Film sound comprises conventions and innovations.
fûlm sa|nd këm"praûzûz kën"venÐÊnz ënd ;ûnë"veûÐÊnz

We have come to expect an acceleration of music during car chases

wi: hëv kšm t| ûk"spekt ën ëk;selë"reûÐÊn ëv "mju:zûk "dj|ërûÅ kä: "tÐeûsûz

and creaky doors in horror films.

ënd "kri:ki dé:z ûn "hãrë fûlmz

Yet, it is important to note as well that

jet ût ûz ûm"pé:tÊnt të në|t ëz wel ðæt

sound is often brilliantly conceived.

sa|nd ûz "ãfÊn "brûljëntli kën"si:vd

The effects of sound are often largely subtle

ði û"fekts ëv sa|nd ä:r "ãfÊn "lä:džli "sštl

and often are noted by only our subconscious minds.

ënd "ãfÊn ä: "në|tÂd baû "ë|nli a|ë sšb"kãnÐës maûndz

We need to foster an awareness of film sound as well as film space

wi: ni:d të "fãstë ën ë"weënÂs ëv fûlm sa|nd ëz wel ëz fûlm speûs

so as to truly appreciate an art form that sprang to life

së| ëz të "tru:li ë"pri:Ðieût ën ä:t fé:m ðæt spræÅ të laûf

during the twentieth century - the modern film.

"dj|ërûÅ ðë "twentiëØ "sentÐëri ðë "mãdn fûlm

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Choose the correct letter, , , or
Write the correct letter in boxes 54—58 on your answer sheet.

54 In the first paragraph, the writer makes a point that

the director should plan the sound track at an early stage in filming.

it would be wrong to overlook the contribution of sound to the artistry of films.

the music industry can have a beneficial influence on sound in film.

it is important for those working on the sound in a film to have sole responsibility for it.

..................................................................................................

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55 One reason that the writer refers to Humphrey Bogart is to exemplify

the importance of the actor and the character appearing to have similar personalities.

the audience’s wish that actors are visually appropriate for their roles.

the value of the actor having had similar feelings to the character.

the audience’s preference for dialogue to be as authentic as possible.

..................................................................................................

56 In the third paragraph, the writer suggests that

audiences are likely to be critical of film dialogue that does not reflect their own experience.

film dialogue that appears to be dull may have a specific purpose.

filmmakers vary considerably in the skill with which they handle dialogue.

the most successful films are those with dialogue of a high Quality.

..................................................................................................

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57 What does the writer suggest about Bringing Up

The plot suffers from the filmmaker’s wish to focus on humorous dialogue.

The dialogue helps to make it one of the best comedy films ever produced.

There is a mismatch between the speed of the dialogue and the speed of actions.

The nature of the dialogue emphasises key elements of the film.

..................................................................................................

58 The writer refers to the ‘click’ of a door to make the point that realistic sounds

are often used to give the audience a false impression of events in the film.

may be interpreted in different ways by different members of the audience.

may be modified in order to manipulate the audience’s response to the film.

tend to be more significant in films presenting realistic situations

..................................................................................................

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Do the following statements agree with the information given in Reading Passage 5?
In boxes 59-63 on your answer sheet, write

if the statement agrees with the information

if the statement contradicts the information

if there is no information on this

59 Audiences are likely to be surprised if a film lacks background music.

..................................................................................................

60 Background music may anticipate a development in a film.

..................................................................................................

61 Background music has more effect on some people than on others.

..................................................................................................

62 Background music may help the audience to make certain connections within the film.

..................................................................................................
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63 Audiences tend to be aware of how the background music is affecting them.

..................................................................................................

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Complete each sentence with the correct ending below.
Write the correct letter, - , in boxes 64-66 on your answer sheet.

................. when the audience listens to the dialogue.

................. if the film reflects the audience’s own concerns.

................. if voice, sound and music are combined appropriately.

................. when the director is aware of how the audience will respond.

................. when the actor s appearance, voice and moves are consistent with each other.

64 The audience’s response to different parts of a film can be controlled .................

..................................................................................................

65 The feelings and motivations of characters become clear .................

..................................................................................................

66 A character seems to be a real person rather than an actor .................

..................................................................................................

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readings 456 Page 34 of 50
 You should spend about 20 minutes on ,
which are based on Reading Passage 6 below.

‘This Marvellous Invention’

ðûs "mä:vÊlës ûn"venÐÊn

Of all mankinds manifold creations,

ëv é:l ;mæn"kaûndz "mænÂfë|ld kri"eûÐÊnz

language must take pride of place.

"læÅgwûdž mšst teûk praûd ëv pleûs

Other inventions - the wheel, agriculture, sliced bread –

"šðër ûn"venÐÊnz ðë wi:l "ægrû;kšltÐë slaûst bred

may have transformed our material existence,

meû hæv træns"fé:md a|ë më"tûëriël ûg"zûstÊns

but the advent of language is what made us human.

bšt ði "ædvent ëv "læÅgwûdž ûz wãt meûd ës "hju:mën

Compared to language, all other inventions pale in significance,

këm"peëd të "læÅgwûdž é:l "šðër ûn"venÐÊnz peûl ûn sûg"nûfûkëns

since everything we have ever achieved depends on

sûns "evriØûÅ wi: hæv "ever ë"tÐi:vd dû"pendz ãn

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language and originates from it.
"læÅgwûdž ënd ë"rûdžÂneûts frëm ût

Without language, we could never have embarked on

wûð"a|t "læÅgwûdž wi: k|d "nevë hæv ûm"bä:kt ãn

our ascent to unparalleled power over all other animals,

a|ër ë"sent t| šn"pærëleld "pa|ër "ë|vër é:l "šðër "ænÂmÊlz

and even over nature itself.

ënd "i:vÊn "ë|vë "neûtÐër ût"self

But language is foremost not just because it came first.

bšt "læÅgwûdž ûz "fé:më|st nãt džšst bû"kãz ût keûm fî:st

In its own right it is a tool of extraordinary sophistication,

ûn ûts ë|n raût ût ûz ë tu:l ëv ûk"stré:dÊnÊri së;fûstÂ"keûÐÊn

yet based on an idea of ingenious simplicity:

jet beûst ãn ën aû"dûë ëv ûn"dži:niës sûm"plûsÂti

‘this marvellous invention of composing out of twenty-five

ðûs "mä:vÊlës ûn"venÐÊn ëv këm"pë|zûÅ a|t ëv "twenti faûv

or thirty sounds that infinite variety of expressions which,

é: "Øî:ti sa|ndz ðæt "ûnfÂnÂt vë"raûëti ëv ûk"spreÐÊnz wûtÐ

whilst having in themselves no likeness to what is in our mind,

waûlst "hævûÅ ûn ðëm"selvz në| "laûknÂs të wãt ûz ûn a|ë maûnd

allow us to disclose to others its whole secret,

ë"la| ës të dûs"klë|z t| "šðëz ûts hë|l "si:krÂt

and to make known to those

ënd të meûk në|n të ðë|z
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who cannot penetrate it all that we imagine,
hu: "kænãt "penÂtreût ût é:l ðæt wi: û"mædžÂn

and all the various stirrings of our soul.

ënd é:l ðë "veëriës "stî:rûÅz ëv a|ë së|l

This was how, in 1660, the renowned French grammarians

ðûs wëz ha| ûn ;sûk"sti:n< "sûksti ðë rû"na|nd frentÐ grë"meëriënz

of the Port-Royal abbey near Versailles

ëv ðë pé:t "réûël "æbi nûë veë"saû

distilled the essence of language,

dû"stûld ði "esÊns ëv "læÅgwûdž

and no one since has celebrated more eloquently

ënd në| wšn sûns hëz "selÂbreûtÂd mé:r "elëkwëntli

the magnitude of its achievement.

ðë "mægnÂtju:d ëv ûts ë"tÐi:vmënt

Even so, there is just one flaw in all these hymns of praise,
"i:vÊn së| ðeër ûz džšst wšn flé: ûn é:l ði:z hûmz ëv preûz

for the homage to languages unique accomplishment conceals

fé: ðë "hãmûdž të "læÅgwûdžÂz ju:"ni:k ë"kšmplûÐmënt kën"si:lz

a simple yet critical incongruity.

ë "sûmpÊl jet "krûtûkÊl ;ûnkën"gru:Âti

Language is mankind’s greatest invention - except, of course,

"læÅgwûdž ûz ;mæn"kaûnd z "greûtÂst ûn"venÐÊn ûk"sept ëv ké:s

that it was never invented.

ðæt ût wëz "nevër ûn"ventûd

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This apparent paradox is at the core of our fascination with language,
ðûs ë"pærënt "pærëdãks ûz ët ðë ké:r ëv a|ë ;fæsÂ"neûÐÊn wûð "læÅgwûdž

and it holds many of its secrets.

ënd ût hë|ldz "meni ëv ûts "si:krÂts

Language often seems so skillfully drafted that

"læÅgwûdž "ãfÊn si:mz së| "skûlfÊli "drä:ftÂd ðæt

one can hardly imagine it as anything other than

wšn kën "hä:dli û"mædžÂn ût æz "eniØûÅ "šðë ðÊn

the perfected handiwork of a master craftsman.

ðë "pî:fûktÂd "hændiwî:k ëv ë "mä:stë "krä:ftsmën

How else could this instrument make so much out of barely

ha| els k|d ðûs "ûnstrÁmënt meûk së| mštÐ a|t ëv "beëli

three dozen measly morsels of sound?

Øri: "dšzÊn "mi:zli "mé:sÊlz ëv sa|nd

In themselves, these configurations of mouth

ûn ðëm"selvz ði:z kën;fûgë"reûÐÊnz ëv ma|Ø

p,f,b,v,t,d,k,g,sh, a, e and so on –
p f b v t d k g Ð eû i: ænd së| ãn

amount to nothing more than a few haphazard spits and splutters,

ë"ma|nt të "nšØûÅ mé: ðÊn ë fju: ;hæp"hæzëd< spûts ënd "splštëz

random noises with no meaning, no ability to express,

"rændëm "néûzÂz wûð në| "mi:nûÅ në| ë"bûlÂti t| ûk"spres

no power to explain.
në| "pa|ë t| ûk"spleûn
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But run them through the cogs and wheels of the language machine,
bšt ršn ðëm Øru: ðë kãgz ënd wi:lz ëv ðë "læÅgwûdž më"Ði:n

let it arrange them in some very special orders,

let ût ë"reûndž ðëm ûn sšm "veri "speÐÊl "é:dëz

and there is nothing that these meaningless streams of air cannot do:
ënd ðeër ûz "nšØûÅ ðæt ði:z "mi:nûÅlës stri:mz ëv eë "kænãt du:

from sighing the interminable boredom of existence

frëm "saû-ûÅ ði ûn"tî:mÂnëbÊl "bé:dëm ëv ûg"zûstÊns

to unravelling the fundamental order of the universe.

t| šn"rævÊlûÅ ði ;fšndë"mentl< "é:dër ëv ðë "ju:nÂvî:s

The most extraordinary thing about language, however, is that

ðë më|st ûk"stré:dÊnÊri ØûÅ ë"ba|t "læÅgwûdž ha|"evë ûz ðæt

one doesn’t have to be a genius to set its wheels in motion.

wšn "dšzÊnt hæv të bi: ë "dži:niës të set ûts wi:lz ûn "më|ÐÊn

The language machine allows just about everybody

ðë "læÅgwûdž më"Ði:n ë"la|z džšst ë"ba|t "evribãdi

from pre-modern foragers in the subtropical savannah,

frëm pri: "mãdn "fãrûdžëz ûn ðë ;sšb"trãpûkÊl< së"vænë

to post-modern philosophers in the suburban sprawl –

të pë|st "mãdn fÂ"lãsëfëz ûn ðë së"bî:bën spré:l

to tie these meaningless sounds together into

të taû ði:z "mi:nûÅlës sa|ndz të"geðë "ûntë

an infinite variety of subtle senses,

ën "ûnfÂnÂt vë"raûëti ëv "sštl "sensÂz
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and all apparently without the slightest exertion.
ënd é:l ë"pærëntli wûð"a|t ðë "slaûtÂst ûg"zî:ÐÊn

Yet it is precisely this deceptive ease

jet ût ûz prû"saûsli ðûs dû"septûv i:z

which makes language a victim of its own success,

wûtÐ meûks "læÅgwûdž ë "vûktÂm ëv ûts ë|n sëk"ses

since in everyday life its triumphs are usually taken for granted.
sûns ûn "evrideû laûf ûts "traûëmfs ä: "ju:žuëli "teûkën fé: "grä:ntÂd

The wheels of language run so smoothly that one rarely bothers

ðë wi:lz ëv "læÅgwûdž ršn së| "smu:ðli ðæt wšn "reëli "bãðëz

to stop and think about all the resourcefulness and expertise

të stãp ënd ØûÅk ë"ba|t é:l ðë rû"zé:sfÊlnÂs ënd ;ekspî:"ti:z

that must have gone into making it tick.

ðæt mšst hëv gãn "ûntë "meûkûÅ ût tûk

Language conceals art.

"læÅgwûdž kën"si:lz ä:t

Often, it is only the estrangement of foreign tongues,

"ãfÊn ût ûz "ë|nli ði û"streûndžmënt ëv "fãrÂn tšÅz

with their many exotic and outlandish features,

wûð ðeë "meni ûg"zãtûk ënd a|t"lændûÐ "fi:tÐëz

that brings home the wonder of languages design.

ðæt brûÅz hë|m ðë "wšndër ëv "læÅgwûdžÂz dû"zaûn

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One of the showiest stunts that some languages can pull off
wšn ëv ðë "Ðë|iÂst stšnts ðæt sšm "læÅgwûdžÂz kën p|l ãf

is an ability to build up words of breath-breaking length,

ûz ën ë"bûlÂti të bûld šp wî:dz ëv breØ "breûkûÅ leÅØ

and thus express in one word

ënd ðšs ûk"spres ûn wšn wî:d

what English takes a whole sentence to say.

wãt "ûÅglûÐ teûks ë hë|l "sentÊns të seû

The Turkish word çehirliliçtiremediklerimizdensiniz,

ðë "tî:kûÐ wî:d

to take one example, means nothing less than

të teûk wšn ûg"zä:mpÊl mi:nz "nšØûÅ les ðÊn

‘you are one of those whom we can’t turn into a town-dweller’.

ju: ä: wšn ëv ðë|z hu:m wi: kä:nt tî:n "ûnt| ë ta|n "dwelë

(In case you were wondering, this monstrosity really is one word,
ûn keûs ju: wî: "wšndërûÅ ðûs mãn"strãsÂti "rûëli ûz wšn wî:d

not merely many different words squashed together –

nãt "mûëli "meni "dûfÊrënt wî:dz skwãÐt të"geðë

most of its components cannot even stand up on their own.)

më|st ëv ûts këm"pë|nënts "kænãt "i:vÊn stænd šp ãn ðeër ë|n

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And if that sounds like some one-off freak, then consider Sumerian,
ænd ûf ðæt sa|ndz laûk sšm wšn ãf fri:k ðen kën"sûdë su"mûëriën

the language spoken on the banks of the Euphrates

ðë "læÅgwûdž "spë|kën ãn ðë bæÅks ëv ðë ju"freûti:z

some 5,000 years ago by the people

sšm faûv "Øa|zÊnd jûëz ë"gë| baû ðë "pi:pÊl

who invented writing and thus enabled the documentation of history.

hu: ûn"ventûd "raûtûÅ ënd ðšs û"neûbÊld ðë ;dãkjÁmën"teûÐÊn ëv "hûstÊri

A Sumerian word like munintuma'a

ë su"mûëriën wî:d laûk

(‘when he had made it suitable for her’)

wen hi: hëd meûd ût "su:tëbÊl fé: hî:

might seem rather trim compared to the Turkish colossus above.

maût si:m "rä:ðë trûm këm"peëd të ðë "tî:kûÐ kë"lãsës ë"bšv

What is so impressive about it, however, is not its lengthiness

wãt ûz së| ûm"presûv ë"ba|t ût ha|"evë ûz nãt ûts "leÅØinës

but rather the reverse - the thrifty compactness of its construction.

bšt "rä:ðë ðë rû"vî:s ðë "Ørûfti këm"pæktnës ëv ûts kën"strškÐÊn

The word is made up of different slots,

ðë wî:d ûz meûd šp ëv "dûfÊrënt slãts

each corresponding to a particular portion of meaning.

i:tÐ ;kãrÂ"spãndûÅ< t| ë pë"tûkjÁlë "pé:ÐÊn ëv "mi:nûÅ

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This sleek design allows single sounds to convey useful information,
ðûs sli:k dû"zaûn ë"la|z "sûÅgÊl sa|ndz të kën"veû "ju:sfÊl ;ûnfë"meûÐÊn

and in fact even the absence of a sound has been enlisted

ënd ûn fækt "i:vÊn ði "æbsÊns ëv ë sa|nd hëz bi:n ûn"lûstÂd

to express something specific.

t| ûk"spres "sšmØûÅ spÂ"sûfûk

If you were to ask which bit in the Sumerian word

ûf ju: wî: t| ä:sk wûtÐ bût ûn ðë su"mûëriën wî:d

corresponds to the pronoun ‘it’ in the English translation

;kãrÂ"spãndz të ðë "prë|na|n ût ûn ði "ûÅglûÐ træns"leûÐÊn

‘when he had made it suitable for her’,

wen hi: hëd meûd ût "su:tëbÊl fé: hî:

then the answer would have to be nothing.

ðen ði "ä:nsë w|d hæv të bi: "nšØûÅ

Mind you, a very particular kind of nothing:

maûnd ju: ë "veri pë"tûkjÁlë kaûnd ëv "nšØûÅ

the nothing that stands in the empty slot in the middle.

ðë "nšØûÅ ðæt stændz ûn ði "empti slãt ûn ðë "mûdl

The technology is so fine-tuned then that even a non-sound,

ðë tek"nãlëdži ûz së| faûn tju:nd ðen ðæt "i:vÊn ë ;nãn sa|nd

when carefully placed in a particular position,

wen "keëfÊli pleûst ûn ë pë"tûkjÁlë pë"zûÐÊn

has been invested with a specific function.

hëz bi:n ûn"vestÂd wûð ë spÂ"sûfûk "fšÅkÐÊn

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Who could possibly have come up with such a nifty contraption?
hu: k|d "pãsÂbli hëv kšm šp wûð sštÐ ë "nûfti kën"træpÐÊn

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Reading Passage 6 has six paragraphs, - .
Choose the correct heading for paragraphs - from the list of headings below.
Write the correct number, - , in boxes 67-72 on your answer sheet.

Differences between languages highlight their impressiveness

The way in which a few sounds are organised to convey a huge range of meaning

Why the sounds used in different languages are not identical

Apparently incompatible characteristics of language

Even silence can be meaningful

Why language is the most important invention of all

The universal ability to use language

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67
Paragraph

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68
Paragraph

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69
Paragraph

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70
Paragraph

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71
Paragraph

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72
Paragraph

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Complete the summary using the list of words, - , below.
Write the correct letter, - , in boxes 73-76 on your answer sheet.

The importance of language

The wheel is one invention that has had a major impact on 73 ................. aspects
of life, but no impact has been as 74 ................. as that of language.
Language is very 75 ................. , yet composed of just a small number of sounds.
Language appears to be 76 ................. to use.
However, its sophistication is often overlooked.

difficult complex original

admired material easy

fundamental

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Do the following statements agree with the views of the writer in Reading Passage 6?
In boxes 77-80 on your answer sheet, write

if the statement agrees with the views of the writer

if the statement contradicts the views of the writer

if it is impossible to say what the writer thinks about this

77 Human beings might have achieved their present position without language.

..................................................................................................

78 The Port-Royal grammarians did justice to the nature of language.

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79 A complex idea can be explained more clearly in a sentence than in a single word.

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80 The Sumerians were responsible for starting the recording of events.

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readings 456 Page 50 of 50