IELTS
IELTS Academic · tam deneme

IELTS tam deneme 1

Gerçek sınavın dört modülü · yaklaşık 2 saat 50 dakika · Listening ve Reading band puanlı · konular: Keepers of the Light · The Soundtrack of Memory · The Return of the Wild · Bioluminescence

Deneme panosu 0 / 4 modül
  1. ListeningDinleme 35 dk · 4 bölüm · 40 soru Yapılmadı Başla
  2. ReadingOkuma 60 dk · 3 metin · 40 soru Yapılmadı Başla
  3. WritingYazma 60 dk · 2 görev Yapılmadı Başla
  4. SpeakingKonuşma 14 dk · 3 bölüm Yapılmadı Başla
Modül 1 / 4

ListeningDinleme

Dört kayıt, kırk soru. Her kaydı başlatmadan önce sorularını oku: kayıt bir kez çalar, durdurulamaz. Konuşmacılar ayrı seslerle okunur (tarayıcının İngilizce sesi). Cevapları dinlerken yaz; yazım hatası yanlış sayılır.

  • 35 dakika
  • 4 bölüm
  • 40 soru · band 1-9

Part 1Booking a Pottery Course

Durum

Bir adam, bir sanat merkezindeki hafta sonu çömlek kursu hakkında telefonla bilgi alıp yer ayırtıyor.

Bir kez dinleyeceksin

Complete the form below. Write ONE WORD AND/OR A NUMBER for each answer.

Pottery course booking form

  1. Course title: Introduction to the

  2. Dates: Saturday October and the following Sunday

  3. Class starts at: a.m.

  4. Cost: £ (clay, glazes and firing included)

  5. Please bring: a

  6. Finished pieces ready to collect: weeks after the course

  7. Name: Daniel

  8. Mobile number:

  9. Heard about the course from: a

  10. Reminder to be sent by:

Kaydın metni (kanıtlar işaretli)

RECEPTIONIST Good afternoon, Millbrook Arts Centre, Megan speaking. How can I help you?

MAN Oh, hello. I'm calling about your pottery courses. I'd like to find out a bit more about them, and possibly book a place.

RECEPTIONIST Of course. At the moment we've got an evening class, which runs on Tuesdays, and a weekend course. Which would suit you better?

MAN The weekend one, I think. I often work late, so Tuesday evenings would be difficult.

RECEPTIONIST No problem. The weekend course is called Introduction to the Wheel. It's for complete beginners, and over the two days you learn to make bowls and cups on the potter's wheel. We also run a hand-building course, but that one's only in the spring.

MAN The wheel sounds great. I've always wanted to try it. When's the next one?

RECEPTIONIST Let me have a look. The next course is on the seventh and eighth of October, but I'm afraid that one's already full. The one after that is on Saturday the twenty-first and Sunday the twenty-second, and there are still a few places left.

MAN The twenty-first is fine. I'm free that whole weekend.

RECEPTIONIST Lovely. The building opens at nine, and there's tea and coffee in the studio from quarter past, but the class itself starts at half past nine on both days. It finishes at four.

MAN Great. And how much does it cost?

RECEPTIONIST The evening class is seventy-five pounds, and the weekend course is ninety-five pounds.

MAN Does that include the clay?

RECEPTIONIST Yes, the clay, the glazes and the firing are all included. If you want extra clay to practise with at home, you can buy a bag for twelve pounds, but most people don't bother.

MAN OK. Do I need to bring anything? Tools, or special clothes?

RECEPTIONIST We've got all the tools, and we provide aprons too, so you don't need one of those. But it's a good idea to bring a towel, because working on the wheel is quite messy and you'll want to dry your hands a lot.

MAN Right, a towel. And can I take my pieces home at the end of the second day?

RECEPTIONIST Not straight away, I'm afraid. They have to dry out completely and then go into the kiln. That normally takes about two weeks, but in October a lot of school groups use the kiln, so for your course it'll be three weeks. We'll give you a call when they're ready.

MAN That's fine. I don't mind waiting.

RECEPTIONIST So, shall I book you a place?

MAN Yes, please.

RECEPTIONIST Can I take your name?

MAN It's Daniel Whitlock.

RECEPTIONIST Could you spell your surname for me?

MAN Sure. Whitlock is W, H, I, T, L, O, C, K.

RECEPTIONIST Thank you. And a contact number?

MAN My mobile is best. It's oh-seven-nine-four-three, five-one-six, eight-two-oh. Sorry, no, the last part is eight-oh-two.

RECEPTIONIST So that's oh-seven-nine-four-three, five-one-six, eight-oh-two.

MAN That's right.

RECEPTIONIST And just for our records, how did you hear about the course? Was it through our website?

MAN No, I didn't even know you had one. I picked up a leaflet in the supermarket on the high street.

RECEPTIONIST Oh good, we left some there last month. One last thing: we send everyone a reminder a few days before the course starts. Would you prefer an email or a text?

MAN A text, please. I don't check my emails very often.

RECEPTIONIST A text it is. You can pay now by card, or in cash on the first morning.

MAN I'll pay by card now, if that's all right.

RECEPTIONIST Of course. I'll just put you through to our payments line.

Part 2Volunteering at a City Farm

Durum

Bir gönüllü koordinatörü, şehir çiftliğine yeni katılan gönüllülere tanıtım konuşması yapıyor.

Bir kez dinleyeceksin

Choose the correct letter, A, B or C.

  1. What does Helen say about the history of the farm?

  2. Which rule does Helen say must never be broken?

  3. What does Helen say about visitors feeding the animals?

  4. Where should volunteers eat their lunch?

  5. If volunteers cannot come to a shift, they should

What will new volunteers mainly do in each of the following areas this month? Choose FIVE answers from the box and write the correct letter, A–G, next to Questions 16–20.

  1. A

    feeding animals

  2. B

    cleaning out animal housing

  3. C

    planting

  4. D

    repairing fences

  5. E

    serving customers

  6. F

    showing groups around the farm

  7. G

    collecting eggs

  1. Goat paddock

  2. Poultry yard

  3. Market garden

  4. Education barn

  5. Farm shop

Kaydın metni (kanıtlar işaretli)

HELEN Good morning, everyone, and welcome to Hatfield Lane City Farm. My name's Helen, and I coordinate the volunteers here, so I'll be the person you see most often. Before we go outside, I'd like to tell you a little about the farm and how things work.

HELEN First, a bit of background. The farm opened in nineteen eighty-four, on land that used to be a railway goods yard. A lot of people assume that the city council set it up, but in fact it was started by a small group of local residents who wanted their children to see where food comes from. The council does give us a small grant each year, but most of our income comes from the shop, the café and donations.

HELEN Now, safety. You'll see signs everywhere asking you to wear gloves, and I'd certainly recommend them, but they aren't compulsory. We also ask you to close every gate behind you, of course. But the one rule that nobody is allowed to break, ever, is washing your hands every time you leave an area with animals in it. There's a sink next to every gate, so there's no excuse.

HELEN Something visitors often ask about is feeding the animals. They used to be able to buy bags of feed in our shop, but we stopped selling it last year because some of the animals were putting on too much weight. These days, visitors can only feed them at three o'clock each afternoon, when a member of staff is there to supervise. If you see anyone giving the animals food at other times, please ask them politely to stop.

HELEN You'll be here for a full day, so you'll need somewhere to have your lunch. Please don't take up tables in the café. It's small and gets very crowded, although you do get a discount on anything you buy there. The picnic area by the pond is kept for school groups. So the best place is the volunteers' room, which is up the stairs above the office. There's a kettle and a fridge in there.

HELEN And if you can't come in for a shift, please let me know as early as possible. Some volunteers post a message in our group chat, but I don't always see those in time, and nobody checks the office email at weekends. So the best thing is to ring me directly. My mobile number is on the card in your welcome pack.

HELEN Right, let me tell you what you'll be doing in each part of the farm this month. The work changes with the seasons, so things may be quite different by the spring.

HELEN We'll start with the goat paddock, which is the first thing you pass when you come in. Volunteers there usually help with feeding, but two of our goats are on a special diet at the moment, so only staff are feeding them. What we really need is help with the fences. The goats keep pushing through them, and we've found them in the car park twice this week.

HELEN Next to the paddock is the poultry yard, where we keep the hens and ducks. You might expect to spend your time collecting eggs, but the children on school visits love doing that, so we leave it for them. Instead, you'll be cleaning out the hen houses and putting down fresh straw. It isn't glamorous, I'm afraid, but it has to be done every day.

HELEN Behind the poultry yard is the market garden. The harvest is mostly over now, and staff will pick the last of the vegetables this week. But October is when we put in the onions and garlic for next summer, so you'll be planting, and quite a lot of it.

HELEN Then there's the education barn, where school groups start their visit. Only staff who've done our training are allowed to take groups round the farm, so you won't be doing that. But the barn is also home to our rabbits and guinea pigs, and volunteers there are responsible for feeding them twice a day.

HELEN And finally, the farm shop. Everything we sell there, from eggs to honey, comes from the farm itself. On Saturdays it gets very busy, so that's where we need you, behind the counter, serving customers. Staff put the prices on everything before the shop opens, so you won't need to worry about that.

HELEN OK, that's all for now. Let's put our boots on and go and meet the animals.

Part 3Researching Food Waste in the Canteen

Durum

İki öğrenci, üniversite kantinindeki yemek israfı üzerine yaptıkları araştırma projesini danışman hocalarıyla konuşuyor.

Bir kez dinleyeceksin

Choose the correct letter, A, B or C.

  1. What was the main reason the students chose food waste as their topic?

  2. What was the problem with the pilot questionnaire?

  3. According to the tutor, the main advantage of weighing the waste is that

  4. What surprised the students about the results of the trial run?

  5. What does the tutor say about the catering manager?

What do the students decide to do at each stage of their project? Choose FIVE answers from the box and write the correct letter, A-G, next to Questions 26-30.

  1. A

    ask an expert for advice

  2. B

    make it shorter

  3. C

    change the days when it happens

  4. D

    do it together

  5. E

    use photographs

  6. F

    obtain written permission

  7. G

    delay it

  1. the main questionnaire

  2. weighing the waste

  3. interviews with kitchen staff

  4. data analysis

  5. the presentation

Kaydın metni (kanıtlar işaretli)

MR HOLT Come in, both of you, and have a seat. So, this is our last meeting before you start collecting your main data. Before we look at the plan, remind me why you settled on food waste in the canteen.

EMILY Well, you'd suggested looking at plastic packaging on campus, and we did think about that. And we'd both read an article about supermarkets throwing away food. But honestly, the main reason was my job. I clear tables in the canteen two evenings a week, and I kept seeing plates come back with half the meal still on them.

JACK And we assumed the data would be easy to collect, which hasn't been entirely true.

MR HOLT Yes, tell me about the pilot questionnaire. Was it hard to get people to fill it in?

JACK No, surprisingly. We handed out two hundred and got a hundred and sixty back, and most people finished in under five minutes. The trouble was question six, about portion sizes. Lots of students thought 'portion' meant the price of the meal, so those answers were useless.

MR HOLT Well, that's exactly what a pilot is for. And you're planning to weigh the waste as well?

EMILY Yes, we'd collect the trays at the return point and weigh whatever's left. Is that a sensible approach, do you think?

MR HOLT I think it's a good one. It won't give you quick results, and you'll have to borrow scales from the chemistry department, so it isn't completely free either. But its real strength is that you're recording what people actually throw away, not what they tell you they throw away. People nearly always underestimate their own waste on questionnaires.

JACK We did a trial run last Wednesday, actually. Some of it was what we expected. Emily was sure vegetables would come top of the list, and they did, although meat wasn't far behind.

EMILY But what neither of us predicted was the bread. The canteen gives a free roll with every bowl of soup, and nearly a third of those rolls went into the bin without a single bite taken. The soup bowls, on the other hand, came back almost empty.

MR HOLT How interesting. By the way, I mentioned your project to the catering manager.

JACK Oh no. Was she worried we'd make the canteen look bad?

MR HOLT Not at all. I thought she might be a little defensive, but she told me nobody had ever measured waste there before, and she'd like to see your findings before the new menus are planned in January.

EMILY That's great. It makes the whole thing feel more useful.

MR HOLT It does. Right, let's go through the plan stage by stage. First, the full questionnaire. You had thirty questions in the pilot, didn't you?

JACK Yes. I wanted to put the new version online so we could reach more people, but Emily thinks online surveys just get ignored, and I suppose she's right. So it'll stay on paper. The main change is the length. Thirty was far too many, so we're cutting it down to twelve.

MR HOLT Good. And the weighing?

EMILY We'd planned to weigh on Mondays only, to keep things simple. But the Monday menu is much more limited than the rest of the week, so we'll do it on Tuesdays, Thursdays and Fridays instead.

MR HOLT That makes sense. Then there are the interviews with the kitchen staff. Remember that the catering company is a private firm, so the university's ethics approval isn't enough on its own.

JACK Yes, we've been told we need a signed letter from their head office before we speak to anyone, so that's the first thing we'll sort out. We did wonder about leaving the interviews until next term, when we'd have more time, but several of the staff are leaving in December, so we can't wait.

MR HOLT Very sensible. Now, the analysis. Have you decided which statistical tests you'll use?

EMILY Honestly, that's the part we're least confident about. Neither of us has done much statistics.

MR HOLT Then don't guess. The Maths Support Centre runs sessions for exactly this situation. Book an appointment with one of their advisers before you touch the data, and take your research questions with you.

JACK We'll do that this week.

MR HOLT And finally, the presentation to the department. Are you both going to speak?

EMILY We thought about presenting together, but we'd only interrupt each other, so Jack will give the talk and I'll deal with the questions. What we have agreed on is that instead of lots of charts, we'll show pictures of what we actually found on the trays. A photo of a bin full of bread rolls says more than any graph.

MR HOLT I agree completely. Just make sure nobody's face appears in them. Now, can you send me the new questionnaire by Friday?

Part 4Bioluminescence

Durum

Bir öğretim görevlisi, canlıların nasıl ve neden ışık ürettiğini anlatan bir ders veriyor.

Bir kez dinleyeceksin

Complete the notes below. Write ONE WORD ONLY for each answer.

Bioluminescence

  1. Chemistry: light is made when luciferin combines with .

  2. The reaction produces almost no , so it is called 'cold light'.

  3. Colour: light in the sea is mainly , as this colour travels furthest in water.

  4. Exception: some dragonfish produce light, which their prey cannot see.

  5. On land: fireflies, glow-worms and some on decaying wood.

  6. Hiding: lights along the match the faint light from above.

  7. Hunting: the glow of the anglerfish's lure is produced by .

  8. Defence: plankton flash to attract larger , which eat their attacker.

  9. Communication: every firefly species has a unique of flashes.

  10. Medicine: glowing cancer cells allow scientists to follow the growth of without surgery.

Kaydın metni (kanıtlar işaretli)

MS REID Good morning, everyone. Today's lecture is about bioluminescence, which is simply the production of light by living things. We'll look first at how the light is made, then at where it's found, and then at why so many organisms have evolved this ability. Finally, I'll say a little about how humans have started to use it.

MS REID So, let's begin with the chemistry. In almost every case, light is produced when a compound called luciferin reacts with oxygen. The reaction is speeded up by an enzyme, usually known as luciferase. Students often assume that these organisms must be storing energy from sunlight, but that isn't the case at all. Many of them live where sunlight never reaches. What matters is the reaction with oxygen. One remarkable feature of this light is its efficiency. An old-fashioned light bulb wastes most of its energy, but bioluminescent reactions give off very little heat, which is why biologists often describe the result as cold light.

MS REID Now, where do we find it? On land it's fairly rare, but in the ocean it's extremely common. One large survey off the coast of California found that roughly three quarters of the animals recorded in the open water could produce light. And the colour of that light is worth noticing. Because fireflies glow yellow and green, people tend to picture those colours, but in the sea the light is overwhelmingly blue. That's because blue light travels furthest through seawater, and most deep-sea animals can only see blue in any case.

MS REID There is one fascinating exception. Certain dragonfish produce red light from organs beneath their eyes. Since almost none of their prey can detect red, a dragonfish can light up its surroundings without being noticed. It's rather like having a secret torch.

MS REID As for land, the best-known examples are fireflies, which are actually a kind of beetle, and glow-worms. There are also certain fungi which make fallen branches and rotting logs glow faintly in the dark. People walking through forests at night have reported this glow for centuries.

MS REID Let's move on to the most interesting question, which is why organisms produce light. Biologists usually group the reasons into four main functions. The first, perhaps surprisingly, is hiding. Imagine a small fish or squid swimming in the middle depths of the ocean. A predator below it looks up and sees its dark shape against the faint light coming down from the surface. To prevent this, many of these animals have rows of tiny lights along the belly, and they adjust the brightness to match the light from above. Their outline simply disappears. This is known as counter-illumination.

MS REID The second function is finding food. The best-known case is the deep-sea anglerfish, which has a glowing lure hanging in front of its mouth. Smaller fish swim towards the light and are swallowed. Interestingly, the anglerfish doesn't make this light itself. The glow comes from bacteria living inside the lure, which receive nutrients from the fish in return.

MS REID The third function is defence, and here there are some clever strategies. Some shrimps squirt out a cloud of glowing liquid to confuse an attacker, rather as an octopus uses ink. Even tiny plankton defend themselves with light. When a small animal starts feeding on them, they flash, and this works like a burglar alarm. The flash attracts larger fish, which then eat the animal that was doing the feeding.

MS REID The fourth function is communication, and fireflies are the classic example. Male fireflies flash as they fly, and each species has its own pattern of flashes, so that females can recognise a suitable partner. A female replies with a flash of her own. Some predatory fireflies have even learned to copy the reply of another species in order to attract males and eat them.

MS REID Finally, let's turn to how people use bioluminescence. Since the gene for luciferase was identified, scientists have been able to insert it into other cells. In medical research, for example, cancer cells can be made to glow, which lets researchers watch tumours grow or shrink inside a living animal, without the need for surgery. This has made testing new drugs much faster. The same reaction is also used in the food industry to check that surfaces in kitchens and factories have been properly cleaned.

MS REID What all this shows is that bioluminescence is not a rare curiosity. It has evolved independently more than forty times, which suggests that, in the dark, producing light is an extremely useful skill. Next week we'll look at how animals detect light, starting with the evolution of the eye.

Modül 2 / 4

ReadingOkuma

Üç metin, kırk soru, altmış dakika. Metin solda, soruları sağda. Boşluk sorularında kelimeyi metinden aynen al ve kelime sınırını aşma.

  • 60 dakika
  • 3 bölüm
  • 40 soru · band 1-9

Passage 1Önerilen süre 20 dakika

Reading Passage 1Keepers of the Light

How lighthouses, and the people who ran them, changed over two thousand years

For as long as people have gone to sea, the most dangerous part of a voyage has often been its end, when a ship must find its way past rocks and sandbanks into harbour. The earliest aids to navigation were simply fires lit on hilltops near harbours. The most famous ancient beacon, however, was a purpose-built tower. The Pharos of Alexandria was completed in the third century BC at the entrance to the Egyptian port and is thought to have stood more than 100 metres high, with a fire burning at its summit. Weakened by a series of earthquakes, it had fallen into ruin by the end of the fourteenth century, yet its name lives on: the words for 'lighthouse' in French, Italian and Spanish all come from it.

The Romans, whose trade depended on safe sea routes, built lighthouses in many parts of their empire. The remains of one still stand within the grounds of Dover Castle on the English coast, and the Tower of Hercules in north-western Spain, although heavily restored in the eighteenth century, still guides ships today. After the collapse of Roman power, however, few new lights were built for many centuries. In medieval Europe, the task of showing a light to sailors often fell to monks, who kept lamps burning in chapels on headlands and islands.

The situation changed as sea trade expanded in the seventeenth and eighteenth centuries. Many of the new lighthouses along the coasts of northern Europe burned coal in open iron baskets on top of stone towers. A single station could consume more than a hundred tonnes of coal a year, all of which had to be carried up the tower by hand. Worse still, the smoke often hid the very light that sailors were searching for.

The greatest challenge was to build on isolated rocks out at sea. The Eddystone reef, south-west of Plymouth, had wrecked so many ships that a light there was attempted in the 1690s. The first tower, made of timber and designed by Henry Winstanley, was completed in 1698 but was swept away by a great storm in 1703, killing Winstanley himself. A later tower by the engineer John Smeaton, finished in 1759, proved far more durable. Smeaton, who is said to have used the trunk of an oak tree as his model, gave the tower a broad, heavy base and built it from granite blocks cut so that each one locked into its neighbours. It stood for more than a century and was replaced only because the rock beneath it was wearing away. Its upper part was taken down and rebuilt on the seafront at Plymouth, where visitors can still climb it.

Meanwhile, from the 1780s, oil lamps with circular wicks began to replace coal fires and candles, and polished metal reflectors helped to direct their light out to sea. Even so, much of the light still escaped upwards or into the tower. The decisive advance came in the 1820s, when the French physicist Augustin Fresnel designed a lens made of rings of glass prisms arranged around a central 'bull's-eye'. The lens gathered the light and bent it into a single, powerful beam that could be seen more than 30 kilometres away. Because the lens could be made to revolve, driven by clockwork, the light appeared to flash, and each lighthouse was given its own pattern of flashes, known as its 'character', so that sailors could identify it.

For the keepers, better equipment did not mean an easier life. The lamp had to be lit at sunset and watched all night; wicks had to be trimmed regularly to stop them smoking, which is why American keepers were nicknamed 'wickies'; and the clockwork that turned the lens had to be wound by hand every few hours. On rock stations, keepers had once worked in pairs, but after an incident off the Welsh coast in the early 1800s, in which one of two keepers died and his companion was left alone with the body until a boat could reach them, a team of three became the rule. Each man spent several weeks at a time on the rock before a boat brought his replacement, though storms could delay it considerably. On the mainland, by contrast, keepers often lived with their families, and wives and daughters shared much of the work.

The twentieth century gradually removed the need for keepers. In 1912, the Swedish engineer Gustaf Dalén received the Nobel Prize in Physics for inventions that included a 'sun valve', which switched a gas-powered light on at dusk and off at dawn without human help. Electric lamps, which needed far less attention than flames, spread in the following decades, and eventually many lights could be monitored and controlled from a central station hundreds of kilometres away. One by one, the keepers were withdrawn; in Britain, the last of them left their posts in 1998. Today, satellite navigation means that few sailors depend on lighthouses, yet many are still kept working as a backup, and a number of keepers' cottages are now museums or holiday homes.

Complete the notes below. Choose NO MORE THAN TWO WORDS from the passage for each answer.

The early history of lighthouses

  1. First navigation aids: fires on close to ports

  2. Pharos of Alexandria: fell into ruin after several

  3. Tower of Hercules (Spain): extensively rebuilt in the , but still in use

  4. Middle Ages: lights often maintained by in religious buildings on the coast

  5. 17th and 18th centuries: coal burned in open metal on top of towers

  6. Winstanley's tower on the Eddystone reef: constructed from and destroyed by a storm in 1703

  7. Smeaton's tower: wide base, shaped like the of an oak tree

Do the following statements agree with the information given in Reading Passage 1? Choose TRUE if the statement agrees with the information, FALSE if the statement contradicts the information, or NOT GIVEN if there is no information on this.

  1. Fresnel's lens was quickly adopted by lighthouses outside France.

  2. Rock lighthouses have always been run by teams of three keepers.

  3. Bad weather sometimes meant that keepers on rock stations had to wait longer to be replaced.

  4. Dalén's sun valve was designed for use with electric lamps.

  5. Some of the keepers who were withdrawn found work at central monitoring stations.

  6. Many lighthouses are still in operation even though few sailors now rely on them.

Passage 2Önerilen süre 20 dakika

Reading Passage 2The Soundtrack of Memory

Why a few bars of a song can carry us back decades

Most people have had the experience. A song starts playing in a shop or a taxi, and within seconds they are somewhere else entirely: fifteen again, at a school party or in the back seat of the family car, surrounded by faces and feelings they had not thought about for years. Few other stimuli can reopen the past so quickly or so vividly. Over the last three decades, psychologists and neuroscientists have begun to explain why music has such an unusual grip on human memory, and their findings are now being put to practical use.

Part of the answer lies in the structure of music itself. Songs are built from patterns: a steady beat, melodies that return, lines that rhyme and choruses that are repeated several times. Each of these features gives the brain something to predict, and predictable material is far easier to store and retrieve than a random sequence. Long before writing was widespread, societies relied on this principle, passing down laws, family histories and lengthy poems in sung or chanted form. The same logic explains why many adults still hum the alphabet song under their breath when putting names in order, and why a well-made advertising jingle can outlive the product it was written to sell.

A second part of the answer concerns the way the brain handles sound. Whereas speech relies heavily on regions concentrated on one side of the brain, imaging studies show that music activates areas across both hemispheres at once: those that analyse pitch and rhythm, those that plan movement, and deeper structures involved in emotion and reward. Because a favourite song can trigger the release of dopamine, a chemical also linked to food and other pleasures, the brain marks the experience as significant. Emotionally charged events are stored more firmly than neutral ones, so a piece of music becomes tightly bound to the people, places and moods that surrounded it. Years later, the song works like a key that unlocks the entire scene.

Not all music is remembered equally, however. When older adults are asked to name the songs that mean most to them, a disproportionate number turn out to have been released when the listener was roughly between ten and thirty years old. Psychologists call this the 'reminiscence bump', and it applies to memories of all kinds, not only musical ones. In one study at a British university, volunteers aged fifty to seventy heard short extracts from hit records spanning six decades. They recognised songs from their late teens and early twenties far more often than those from any other period, and rated them as more emotionally powerful. The usual explanation is that adolescence and early adulthood are times of intense novelty, when many experiences are 'firsts' and help to shape a person's sense of identity. Younger people, interestingly, often show a second, smaller peak for the music of their parents' youth, absorbed second-hand at home.

This pattern has important consequences for people living with dementia. Although conditions such as Alzheimer's disease steadily erode the ability to form new memories and eventually damage older ones, memory for music often survives far longer than other kinds. Carers describe residents who can no longer name their own children yet sing every word of a song from their youth. One possible reason is that some brain regions linked to long-familiar music seem to be damaged relatively late in the disease. Many care homes now create personalised playlists for residents, drawn from the years of their reminiscence bump, and staff report calmer behaviour, better mood and easier conversation. Some trials have also recorded a fall in the use of sedative drugs. Researchers stress, though, that music is not a cure: the benefits tend to fade within hours, so listening works best as a regular part of daily care rather than an occasional treat.

Musical memory also has a less welcome side. Almost everyone knows the 'earworm', a fragment of a song that repeats in the mind involuntarily, sometimes for hours. Surveys suggest that around nine in ten people experience one at least once a week. The tunes most likely to get stuck tend to be fairly fast, with a simple, repetitive melody that contains one or two surprising turns. Recent listening is the most common trigger, although stress, tiredness and a wandering mind also play a part. In one experiment, chewing gum reduced the number of unwanted tunes, probably because it occupies the muscles used in silent singing. Other suggested remedies include a moderately demanding task, such as a word puzzle, or, surprisingly, listening to the whole song, since the mind seems to replay unfinished fragments more than complete pieces.

What remains uncertain is whether musical memory is a separate system or simply an extreme example of ordinary memory at work. Those who favour the first view point to its remarkable resistance to brain damage. Others argue that music merely combines, unusually well, everything already known to strengthen memory: repetition, emotion, predictability and a link to movement. Either way, the practical lessons are the same. Teachers can set difficult material to melody, carers can use familiar songs to reach patients who seem unreachable, and the rest of us might think twice before playing a catchy chorus on repeat.

Reading Passage 2 has seven paragraphs, A–G. Choose the correct heading for paragraphs B–G from the list of headings below.

  1. i

    The commercial value of catchy tunes

  2. ii

    The lasting power of music from our youth

  3. iii

    Built-in patterns that help recall

  4. iv

    Proof that musical memory is a separate system

  5. v

    Songs that play in the mind uninvited

  6. vi

    A whole-brain response with an emotional charge

  7. vii

    A treatment that reverses memory loss

  8. viii

    An unsettled question with practical lessons

  9. ix

    Familiar songs as a tool in dementia care

  1. Paragraph B

  2. Paragraph C

  3. Paragraph D

  4. Paragraph E

  5. Paragraph F

  6. Paragraph G

Choose the correct letter, A, B, C or D.

  1. In paragraph B, the writer mentions the alphabet song in order to

  2. According to paragraph C, a song becomes strongly linked to the situation in which it was heard because

  3. What does the writer say about the 'reminiscence bump'?

Complete the summary below. Choose NO MORE THAN TWO WORDS from the passage for each answer.

Music, dementia and earworms

  1. People with dementia often keep their memory for music long after other memories have faded. Where care homes play residents' favourite songs, staff say residents are calmer, happier and find easier.

  2. However, the positive effects usually wear off within a few , so music should be part of the daily routine.

  3. The tunes that most often become earworms are usually quite fast and have a simple that repeats itself.

  4. In one experiment, chewing gum made earworms less frequent, perhaps because it keeps busy the that people use when they sing silently.

Passage 3Önerilen süre 20 dakika

Reading Passage 3The Return of the Wild

Rewilding has captured the public imagination. But is it the answer to nature's decline?

Few ideas in conservation have travelled as quickly as rewilding. Twenty years ago the word was largely confined to specialist journals; today it appears in government strategies, charity fundraising campaigns and the brochures of country hotels. At its simplest, rewilding means stepping back. Rather than managing land for a particular crop, species or view, people allow natural processes to reassert themselves: hedges are left to spread, drainage ditches are blocked so that fields turn back into wetland, and grazing animals are permitted to roam with minimal interference. In its more ambitious forms, it also involves bringing back animals that humans eliminated centuries ago, such as the beaver, the lynx and even the wolf.

The appeal is easy to understand. Traditional conservation has often resembled gardening on a grand scale, with volunteers cutting back scrub each winter to preserve a meadow in exactly the state it was in fifty years earlier. Such work is expensive and never-ending, and critics argue that it rests on a curious assumption: that the landscape of one particular decade represents nature at its best. Rewilding offers an alternative that sounds both cheaper and more honest. Identify the missing pieces of an ecosystem, restore them, and then let the system decide its own shape. Supporters often point to the return of wolves to Yellowstone National Park in the United States in the 1990s, after which elk began to avoid certain valleys, riverside trees recovered and, according to the most popular version of the story, even the course of the rivers changed.

The case of the beaver is perhaps the most persuasive. Hunted to extinction in Britain several centuries ago for its fur, meat and scent glands, the animal is now back in a number of river systems, some of its populations released officially and others of mysterious origin. Beavers are often described as 'ecosystem engineers', and the label is deserved. Their dams slow the flow of water, creating ponds that support insects, amphibians and fish, and they trap sediment and pollutants that would otherwise wash downstream. At one closely monitored site in south-west England, researchers found that peak flows after heavy rain were around 30 per cent lower below a series of beaver dams than above them, a result of obvious interest to towns that flood regularly. No human engineer could have built such a network of small barriers so cheaply.

Yet I find myself increasingly uneasy about the way rewilding is presented to the public. My first reservation concerns the stories themselves. The Yellowstone narrative, repeated in countless online videos, is far tidier than the evidence allows. Elk numbers in the park were also affected by drought, by human hunting outside its boundaries and by a growing population of bears, and ecologists continue to argue about how much of the vegetation's recovery can be credited to wolves at all. None of this means that the reintroduction was a mistake; it plainly was not. But when a complex and disputed result is turned into a simple fable, the public is encouraged to believe that releasing a single charismatic animal will repair a damaged landscape. Such expectations are almost certain to be disappointed, and disappointment is dangerous for a movement that depends so heavily on goodwill.

My second concern is about who pays. Rewilding is frequently discussed as if land were empty, when in fact almost every hectare of Europe is owned, farmed or used by somebody. A beaver dam that delights a visiting naturalist may flood a farmer's most productive field; a lynx that thrills the readers of a Sunday newspaper may kill sheep belonging to a hill farmer whose income is already precarious. Compensation schemes exist in several countries, but they are often slow and bureaucratic, and no payment can make up for the feeling of having decisions imposed from outside. It is striking how often the most enthusiastic advocates of reintroduction live in cities. I do not think this invalidates their arguments, but it ought to make them more willing to listen.

There is also a question of scale. Truly self-regulating ecosystems need space – large predators in particular require territories of hundreds of square kilometres – and densely populated countries have little to spare. The danger is that 'rewilding' becomes a fashionable label attached to modest projects that are, in reality, carefully managed nature reserves under a new name. Some landowners have discovered that the word attracts tourists and grants, and it would be naive to assume that every project described in this way is driven purely by ecological motives. Meanwhile, if large areas of farmland are taken out of production, the food they once supplied must be grown somewhere else, possibly in regions where environmental protection is far weaker.

None of these objections persuades me that rewilding should be abandoned. On the contrary, I believe that the principle at its heart, that nature is often better at repairing itself than we are at repairing it, is sound and long overdue. What the movement needs is less evangelism and more patience. Projects should be judged over decades rather than seasons, their results should be reported honestly, failures included, and local communities should be involved from the planning stage rather than consulted once the important decisions have been made. Rewilding at its best is not an attempt to recreate some imagined paradise that existed before humans arrived; it is a negotiation between people and the rest of the living world. And negotiations succeed only when both sides are heard.

Choose the correct letter, A, B, C or D.

  1. What point does the writer make about the word 'rewilding' in the first paragraph?

  2. According to the second paragraph, one reason why rewilding attracts support is that it

  3. What is the writer's main objection to the popular account of events in Yellowstone?

  4. Why does the writer mention that many supporters of reintroduction live in cities?

Do the following statements agree with the claims of the writer in Reading Passage 3? Choose YES if the statement agrees with the claims of the writer, NO if the statement contradicts the claims of the writer, or NOT GIVEN if it is impossible to say what the writer thinks about this.

  1. Beavers of unknown origin should be removed from British rivers.

  2. It is fair to call beavers 'ecosystem engineers'.

  3. Bringing wolves back to Yellowstone was an error.

  4. Not every project described as rewilding is motivated only by concern for nature.

  5. The best rewilding projects try to restore the natural world as it was before human settlement.

Complete each sentence with the correct ending, A-G, below.

  1. A

    tend to pay farmers promptly and without difficulty.

  2. B

    require more space than crowded countries can easily offer.

  3. C

    are attempting to keep a habitat exactly as it was at an earlier date.

  4. D

    should take part in projects from the very beginning.

  5. E

    are generally more welcome in the countryside than in towns.

  6. F

    fail to remove the sense that choices are being forced on people from outside.

  7. G

    can reduce the maximum volume of water downstream after storms.

  1. Volunteers who clear scrub from meadows every winter

  2. Beaver dams

  3. Compensation schemes for farmers

  4. Large predators

  5. Local communities

Modül 3 / 4

WritingYazma

İki görev, altmış dakika. Task 2 puanın üçte ikisidir: önce ona 40 dakika ayırmak çoğu öğrenciye iyi gelir. Yazdıktan sonra kontrol listesini işaretle, band 7 örnekle karşılaştır.

  • 60 dakika
  • 2 bölüm
  • kendin değerlendir

Task 1Önerilen süre 20 dakika · en az 150 kelime

Academic Writing Task 1

The line graph below shows the percentage of electricity generated from coal, natural gas and solar power in a country between 2000 and 2020. Summarise the information by selecting and reporting the main features, and make comparisons where relevant.

Percentage of electricity generated from coal, natural gas and solar power in a country, 2000-2020
020406020002005201020152020

%

  • Coal
  • Natural gas
  • Solar

0 / 150

Yazdığını kontrol et

Task 2Önerilen süre 40 dakika · en az 250 kelime

Academic Writing Task 2

Some people believe that university education should be free for all students, while others think students should pay for their own tuition. Discuss both views and give your own opinion.

0 / 250

Yazdığını kontrol et

Modül 4 / 4

SpeakingKonuşma

Üç bölüm. Soruları yüksek sesle, telefonuna kaydederek cevapla; kaydı dinleyip örnek cevapla karşılaştır. Part 2’de bir dakika hazırlık, iki dakika konuşma süren var.

  • 14 dakika
  • 3 bölüm
  • kendin değerlendir

Part 1Tanışma · 4-5 dakika · konu: Work or studies (İş ya da okul)

Soruyu yüksek sesle cevapla — 2-3 cümle, kısa ve doğal. Sonra örnek cevaba bak.

  • Do you work or are you a student?
  • What do you like about your studies?
  • Is there anything you dislike about it?
  • Do you think your studies will change in the future?

Part 2Konuşma kartı · 1 dakika hazırlık + 2 dakika konuşma

Cue card

Describe a place in your city you like visiting.

You should say:

  • where it is
  • how often you go there
  • what you do there
  • and explain why you like it
01:00
  • Band 7 örnek konuşma (yaklaşık 2 dakika)

Part 3Tartışma · 4-5 dakika · Part 2 konusunun genel boyutu

Daha uzun cevap ver: görüş + sebep + örnek. Sınav görevlisi «Why?» diye sorar.

  • Why do you think public spaces like parks are important in cities?
  • How have public places changed in your country in recent years?
  • Do you think city planners pay enough attention to green spaces when designing new areas?
  • Do you think people will use public parks differently in the future?