Bên cạnh cung cấp Bài sửa đề thi IELTS WRITING TASK 2 ngày 22/8/2020 của HS đi thi đạt 7.0 writing, IELTS TUTOR cung cấp thêm các bài tập Chuyên đề Matching information IELTS LISTENING- Phần 2 (từ đề thi thật)
I. Cách làm dạng Matching information IELTS LISTENING
IELTS TUTOR đã hướng dẫn kĩ cách làm dạng Matching information IELTS LISTENING
II. Bài tập Matching information IELTS LISTENING P2
III. Transcript Bài tập Matching information IELTS LISTENING P2
What reason do teachers give for using each of the following picture books with children?
00:00
carefully and answer questions 21 to 26.
00:07
Hi, are you ready to discuss our presentation? Yeah, sure. So, what are we going to say about teachers reading picture books with young children? Hmm, I think we should start with the reasons why teachers use picture books. The journal article we read mentioned several picture books and why they're popular with teachers. Right, like, I spy friends. It's a lovely story. Yeah, the children like to find the familiar faces from the fairy tales they know so well. And they're all doing predictable things.
00:36
The article said children find this familiarity very comforting. Yes. Now, how about Goodnight Little Rabbit, which has those delightful pictures? I love the way the colours get darker as the book progresses, indicating how evening turns into night. Me too. The article said that's why teachers like it. Very cute. And a good example of visual subtext. Hard to believe that it came out over 60 years ago. It's still relevant.
01:05
I really liked what the article said about the boat party. There's a lot of repetition, which I think would be great for vocabulary development. That's true, but apparently it's the images that make it popular with children. The artist is really well known and children often ask for her books. Oh, that's good to know. And shall we also include puppy and friends? Yes, it sounds like an innocent title, but the article warns that there's a bit of a fright, you know.
01:33
The one on the last page when the puppy suddenly encounters the scary cat. Teachers like to use this to help children explore their emotions. Sounds good. Hats and socks is a good one. It doesn't really have a beginning and an end, does it? Which is unusual. That's why teachers like this one though. Because it's so different, it's good for children to hear a story that doesn't follow the usual pattern. And the pages are so full of life and colour. A good choice. Mmm. Okay.
02:03
And for our last one, how about a family adventure? This one uses a lot of the same language throughout, which I think can help with letter and word recognition. Teachers say it has a really poetic feel to it. They often sing it to a simple tune. Yes, and it's full of beautiful watercolours too.
02:27
Before you hear the rest of the discussion, you have some time to look at questions 27 to 30.
02:53
Now listen and answer questions 27 to 30.
03:00
In the next part of our presentation, shall we look at some of the other research? I really liked Smith's article about the history of picture books. Picture books haven't been around for that long, of course, and as we know from our reading lists, there's a lot of research on them already. Smith makes some interesting points. Yes, one thing that shocked me was that some people don't consider picture books as proper writing because they don't have enough words in them. Yes, that was unexpected for me as well.
03:28
I think they should be just as respected as other works of fiction. Smith also mentioned that books from other countries are very popular here, even though they don't show our daily life. I think that's interesting. But it's the same for adult fiction too. People want variety. What I didn't realise is how fixed the number of pages is. Me neither. I wasn't expecting that they're so strictly limited to 32 pages. It's important, so let's include it. Alright.
03:59
Now let's think about other aspects of picture books we want to include in our presentation. How about the characters? Okay, well, a lot of them feature animals or families often in very traditional roles. But do you think we need to talk about that? For me, the main thing is that they are mostly printed as board books. The cardboard material makes it easy for young children to turn their pages. I agree. And it's essential for children to hold books and learn how they open at the front.
04:29
and that the text goes in a certain direction. Good point. Why don't we also discuss how culture is important in picture books, like the importance of respecting the elderly? Yes, it's probably different all over the world. Would it be interesting to make a comparison between modern and historical picture books and consider future directions for the genre? It sounds interesting, but I don't have any research on that, so we'd better leave it. So what's next?
05:01
That is the end of part three. You now have 30 seconds to check your answers.
Voice training for drama students
00:02
Now turn to section 3 on page 6.
00:07
You will hear a discussion between Fiona, who is the head of a college drama department, and a new tutor called Ed, who is preparing to run a voice coaching workshop for drama students. First, you have some time to look at questions 21 to 26.
01:13
Now listen carefully and answer questions 21 to 26.
01:21
Right, Ed. Well, I'm delighted that you've joined the Drama Department. Now, part of my job is to support you during your probationary year. So let's ensure that you're clear about what you'll be doing in the first voice coaching workshop you run next week. Okay. I'll be observing you working with the students as you show them how to project their voices on stage. I'll be evaluating how you cope with the practical activities as well as the theory.
01:50
And if all goes well, you'll then have finished the final stage of your voice coach diploma. That'd be great, Fiona. Anyway, I've thought through the workshop and I've done a plan to highlight the key areas I intend to cover. Good. Let's look at your plan. OK, so let's see. I'm glad you've thought about seating patterns. You say you want to begin with the students sitting in star-shaped patterns. That's fine.
02:20
There are various seating patterns you can use at this stage. I like trainees sitting cross-legged in a circle, other people like students in rows. But actually all these can be represented diagrammatically, which would be clearer than going into lots of detailed explanations like you've done here. Oh, okay. But it doesn't matter which one I use at the beginning of a workshop. It's whatever you feel comfortable with. Fine, so...
02:47
In the initial phase, I explain the objectives of the session. Okay. Then in the first activity, you say they should quickly rise, walk briskly around the room, weaving in and out to avoid each other. Yes. I think it's important that they don't get in each other's way and that they learn to move within a confined space, aware of other people, but primarily concentrating on their own thoughts. Absolutely.
03:14
But in your plan you've omitted to mention that in the second activity you will get the students to pair off. So you need to rethink that section and include reasons why it's essential for them to listen to each other talking. It doesn't matter what they actually say. And at the same time get them to think about their posture because that governs their lung capacity and most crucially their breathing. Right, will do. Okay.
03:42
Of course, a common issue in the UK is that we rehearse in small rooms, then transfer to a larger stage. So bearing in mind that voice projection is not shouting, later in the course you'll need to work in a much bigger space. Does it have to be an enclosed space? I suppose it does because ultimately they're going to work in a theatre. Ideally an enclosed space, but there's no reason why you couldn't go somewhere outdoors.
04:10
although I'd avoid a very public space, like a park. Right, thanks. Now, your next activity on how to convey emotion on stage is fine, but your selection of texts for the students to experience emotional depth leaves a little to be desired. It's not enough to include a few extracts that you find enjoyable. You need to consider the different kind of emotion that each extract should present.
04:39
from sorrow through to ecstasy. Classical stuff is all well and good, but include many more contemporary sources. I understand.
04:51
Before you hear the rest of the discussion, you have some time to look at questions 27-30.
05:18
Now listen and answer questions 27 to 30.
05:26
Now, out of the 20 books you list, some are more useful than others and I think you should flag up the disadvantages so that people don't waste money buying them. Take vocal instruction. I know I recommended it for you to read for its historical perspective, but bear in mind it was written 30 years ago and it shows. Yeah, agreed. I thought improve your accent was interesting, but it's very narrow in its outlook, don't you think?
05:56
Well, I'm not sure it's interesting. And another one you need to warn people about is the actor's handbook. It's an expensive book, very useful, but according to the publishers, they're going to reissue it with new color photos, and at the moment it's out of print. There aren't any secondhand copies out there, so tell them not to waste time looking for it. Oh, right. I didn't know that. There's one more that I want to mention, and that's...
06:25
confident voice delivery. It exaggerates its claims on how to be successful to such an extent that I think it is positively misleading. But maybe I'm biased. Okay, I'll make a note of that, thanks.
06:45
That is the end of part three. You now have 30 seconds to check your answers to part three.
The artist Samuel Prout
00:00
Section 3. You will hear an art history student called Jack talking to a lecturer, Dr. Rubin, about an English artist called Samuel Prout. First you have some time to look at questions 21 to 25 on page 5.
00:53
Now listen carefully and answer questions 21 to 25.
01:00
Dr Rubin? Hello Jack. So have you chosen which artist you're going to give your presentation on? Yes, Samuel Prout, the 19th century English watercolour painter. Right, interesting choice. I always feel he never quite got the fame he deserved, did he? No, I think that's true. I mean, I don't think he ever went completely out of vogue, even though tastes and fashions come and go.
01:27
He was really prolific in his day, but there's never really been a high profile showing of his paintings. That could have brought him to more people's attention. Sure. But I think it's remarkable that he achieved any critical success given the problems that he had. Apparently he was prone to chronic chest infections throughout his life. Yes, it must have been hard for him.
01:51
But it seems he had a loving wife and family. And a strong network of colleagues and supporters. Yeah, I've been trying to find out what got him interested in painting in the first place. He doesn't seem to have learned the skill from his father, like so many artists of his time. No, well, I think he painstakingly reproduced other painters' works, essentially sort of schooling himself. And then later on he actually became an art teacher.
02:21
How do you feel about Prout's style of painting? It's interesting how a lot of artists you can see how their style is developing as their work matures, but not so much with Prout. He seemed to have several on the go all at the same time. Yes, with others you can say, oh that must be by so-and-so and painted in around 1820, say. Right, but not so much with Prout.
02:48
Of course Prout's career had a huge boost when the art critic John Ruskin declared him a great artist. Yes, but Ruskin's assessment was quite biased, wasn't it? How do you mean? Well, Ruskin admired Prout and he didn't seem to mind the fact that many of his paintings showed more or less the same thing, European street scenes, or that the people in Prout's pictures can look rather wooden and not very lifelike. For me?
03:16
His detailing of architecture was too predictable. But for Ruskin, that was where Prouts geniusly... Well, I guess that's what Ruskin was particularly interested in.
03:32
Before you hear the rest of the discussion, you have some time to look at questions twenty-six to thirty on page six.
04:05
Now listen and answer questions 26 to 30.
04:12
OK, Jack, so your brief was to prepare a presentation to give to the group and show some pictures associated with the artist, each of which makes a key point about their work, OK? Right. Well, I wanted to start with a view in Germany at Würzburg. It's a detailed watercolour showing a busy market scene with a background of flamboyant detail like in so many of his pictures. Yes.
04:40
Basically what Prout had made his name doing so well. It really gives the flavour of his work. Right. OK. There's a painting called Bridge on the Ooze near York, except that experts now think this isn't York at all, but somewhere in the south of England. Right. But as far as I know, the picture has never been renamed. No, that would make cataloguing and researching Prout's pictures more complicated. And the next one is called Woodland Scene.
05:09
This one has a signature. It says S. Prout in the bottom left. But even so, experts on Prout say they doubt he actually painted it. Yes, I remember reading that. The detailing is too clumsy, with the sun not casting shade in the right place. Exactly. And there's a lot of blue that basically doesn't appear in any other Prout pictures. So it's probably a forgery? Yes.
05:38
And what's the next one? Venice. It's a view from the Grand Canal with some rather grand buildings. They're bathed in sunlight with a sort of picturesque shadow cast by the buildings opposite, which is shown brilliantly. Lovely use of colour. Prout at his best, I think. Right. And then there's entrance to a harbour. Right. He grew up by the sea, didn't he? Yes, in Plymouth.
06:07
He didn't specialise in seascapes, but this same location with the harbour and the sea also appear in other pictures, showing a range of weather conditions. They don't all have figures like this one, but I think they're really well done. Right. Well now you've obviously...
06:29
That is the end of section 3. You now have half a minute to check your answers.
07:05
Now turn to section 4 on page 7.
Presentation on how jobs might change in the future
00:03
Part 3 You will hear two business students called Emma and Nick preparing for their presentation on the topic of how jobs might change in the future. First you have some time to look at questions 21 to 24.
00:50
Now listen carefully and answer questions 21 to 24.
00:58
Okay Nick, the title of our presentation is How Jobs Might Change in the Future. Shall we look at the research we've done so far? I was just watching an interview with Alex Coburn. Go on. He talked about a company with a call centre for dealing with complaints. Instead of following a script with a list of questions they had to ask, the call centre employees were told they could deal with complaints however they wanted, which went down well with them.
01:27
That's not a common approach these days. But apparently it worked. Customers were happier with the new methods. Really? That's certainly not the result you'd expect. We'll definitely have to use that example. Maybe. What about Jerry Kaplan's report? He argues there'll be plenty of jobs not suitable for machines. Like, a machine might be able to diagnose your disease, but patients will always want to talk face to face with their doctor.
01:57
I suppose it's something to do with the fact that a human can empathise, but a machine can't. Right. Now, there's that article called The Human Clout. It describes the growing numbers of people being employed as contractors to do online tasks at a distance. Well, that could be good for the companies. They can choose the most expert people available, and they get cheap labour and no costs except wages.
02:26
But for the workers, it may mean less money. On the other hand, I love the idea of working from home in a time that suits. It's certainly controversial. Another article was the one looking at how employers will use technology to record what their employees are doing. So awful! Cameras in the workplace checking on where you are.
02:49
Software that tells your boss who you've been emailing. When we talk about this, I want to make clear how this affects people's personal privacy. Did you read how some companies are tracking the health of their employees? Surely workers won't accept that. Yes, I'd be very surprised if this became common. Too many employees would refuse.
03:13
Before you hear the rest of the discussion, you have some time to look at questions 25 to 30.
03:50
Listen and answer questions 25 to 30.
03:57
Okay, there's some aspects of the presentation we still need to think about. Yes, there are a few issues. Let's go through them one by one. Okay. What about the introduction then? Well, we've sorted out the content. Your editing has helped. But don't you think you ought to deliver it rather than me? It's mainly your work. Okay, so let's do it that way then. Good. What about the researcher profiles?
04:25
Kathy Bryson and Alex Coburn's backgrounds? I doubt we'll have time to look at them properly during the presentation. I reckon we should just attach that bit to the written report we're given to the tutor. So, cut it? Let's rehearse the whole presentation and see if it's necessary. What about the section on automation? Aren't you happy with it? I'm thinking I haven't really given equal attention to the pros and cons. I should start again.
04:54
Well, let's have a bit more of a think about it. You don't want to rush into a big job like that. Another thing is the section on workplace structure. I think we've got some good points, but... We're only using one particular company as a case study. We need to source some other situations as supporting material. So perhaps we could both do a search and compare notes... And choose the most interesting cases.
05:22
And the section on tracking technology. Are we happy with that? It would definitely benefit from some photos. Hang on. There's no point using images just for decoration. We need to think about whether they'd serve any real purpose. Fair enough. Let's make a decision on that at a later stage. And that interview we did with the company manager. Yes, we were lucky she gave us her time. But I just want to be sure we wrote everything down accurately.
05:52
I wouldn't like to misrepresent her views. Maybe I should type up that section and send it to her so she can confirm whether or not it's correct. Yes, that's a good idea. Go ahead. Sounds like a plan. Okay, and we...
06:09
That is the end of part three. You now have 30 seconds to check your answers to part three.
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