Cambridge IELTS 12 Listening Test 2 answers for all forty questions are collected on this page, with the official key, playable audio for every section, an explanation for each question and the complete transcripts. The paper opens with a call to the Kenton Festival box office about a town festival, moves to a tour leader’s briefing before a theatre trip to Munich, continues with a student’s first Scandinavian Studies tutorial, and closes with a lecture on managing conflict at work.

Every explanation quotes the exact line from the recording that proves the answer, so you can see why each word or letter scores and why the nearest distractor fails. Read the Section 1 strategy for the opening phone call and the Section 2 strategy for the tour briefing before you press play, then sit the whole paper in one sitting and mark it honestly.

Then continue the series with the Cambridge IELTS 10 Listening Test 1 answers page.

Section Walkthroughs

• Kenton Festival Box Office (Questions 1–10) — audio, answers and a full transcript for this section
• Group Tour Briefing (Questions 11–20) — audio, answers and a full transcript for this section
• Scandinavian Studies First Tutorial (Questions 21–30) — audio, answers and a full transcript for this section
• Managing Workplace Conflict (Questions 31–40) — audio, answers and a full transcript for this section

Section 1 — Kenton Festival Box Office

Questions 1–10

Complete the notes below.

Write ONE WORD AND/OR A NUMBER for each answer.

Section 1 Answer Explanations

1. 2.45 — the timetable is given in order: “People start gathering around 2 o’clock … and the events will start at 2.45, and finish about 5.30”. The note asks when the events of the opening ceremony begin, so the start time scores, while 2 o’clock is only the gathering time and 5.30 the finish.

2. band — the performance is announced directly: “Then there’ll be a performance by a band.” The note needs a noun after A, and its verb perform paraphrases the recording’s noun performance. The choir fails because “Most years we have a children’s choir” describes other years, and the cadets only name who is playing this year.

3. play — the item is named in full: “a community group from the town will perform a play they’ve written themselves”. Performance of a play paraphrases perform a play, and the community group is the subject of both sentences. The short work is about Helen Tungate, which confirms the row of the notes.

4. scientist — the caller identifies Helen Tungate herself: “She was a scientist years ago.” The gap follows the name in brackets, so it needs her profession. Biologist is the trap because the caller says “I’m a biologist, so I’ve always been interested in her”, and that word describes the caller, not Tungate.

5. river — the location of the fireworks arrives with a viewing tip: “the display takes place on the opposite side of the river”. The note’s across paraphrases on the opposite side of. The park fails because “You should go to the park to watch” names the viewing spot, not the display site.

6. grandparents — the theme of the videos is stated in one line: “all connected with relationships between children and their grandparents”. The note prints relationships that children have with their, so the missing word is the other generation. Parents is the trap, because the caller jokes “It makes a change from children and parents”.

7. Handsworth — the venue is spelled out on request: “H-A-N-D-S-W-O-R-T-H. Handsworth House.” The videos left the art college because it is in use for classes, and the venue is confirmed as “close to the Town Hall”. The dictated spelling is both the evidence and the answer, so every letter must be right.

8. traditional — the adjective arrives with its noun: “there’ll be a demonstration of traditional dances from all round the country”. The note reads Performance of 8 Dances, so the gap takes the adjective in front of dances. Ballet fails because the man rejects it outright with “There isn’t any ballet, I’m afraid”.

9. outdoor — the market is identified by contrast: “It’s in the market in the town centre – the outdoor one, not the covered market.” The negation rules out covered, and town centre alone fails because the note already prints those words around the gap. The word after the dash is the one that scores.

10. logo — the shops are recognised by display: “from any shops displaying our logo in the windows”. The note paraphrases this as shops which have the festival 10 in their windows, so the missing word is the thing shown. Box office and online booking are the other ticket routes, and neither fits the shops.

Section 2 — Group Tour Briefing

Questions 11–15

Choose the correct letter, A , B or C .

• Theatre trip to Munich

11. When the group meet at the airport they will have breakfast. coffee. lunch.

• A — breakfast.
• B — coffee.
• C — lunch.

12. The group will be met at Munich Airport by an employee at the National Theatre. a theatre manager. a tour operator.

• A — an employee at the National Theatre.
• B — a theatre manager.
• C — a tour operator.

13. How much will they pay per night for a double room at the hotel? 110 euros 120 euros 150 euros

• A — 110 euros
• B — 120 euros
• C — 150 euros

14. What type of restaurant will they go to on Tuesday evening? an Italian restaurant a Lebanese restaurant a typical restaurant of the region

• A — an Italian restaurant
• B — a Lebanese restaurant
• C — a typical restaurant of the region

15. Who will they meet on Wednesday afternoon? an actor a playwright a theatre director

• A — an actor
• B — a playwright
• C — a theatre director

Questions 16–20

What does the man say about the play on each of the following days?

Choose FIVE answers from the box and write the correct letter, A-G , next to Questions

• A. The playwright will be present.
• B. The play was written to celebrate an anniversary.
• C. The play will be performed inside a historic building.
• D. The play will be accompanied by live music.
• E. The play will be performed outdoors.
• F. The play will be performed for the first time.
• G. The performance will be attended by officials from the town.

• Comments
• Days

16. Wednesday

17. Thursday

18. Friday

19. Saturday

20. Monday

Section 2 Answer Explanations

11. B (coffee) — the plan is fixed by the leader: “I suggest we meet there for coffee at 10”. Breakfast fails because it happens at home, with “plenty of time for breakfast before we leave home”, and lunch fails because “it’s too early to have lunch at the airport”. Only the airport meeting counts, and the meeting drink is coffee.

12. C (a tour operator) — Claus’s job is stated plainly: “Claus works for a tour operator”. The National Theatre option fails because “an officer of the National Theatre in Munich to show us round the theatre one afternoon” is a later arrangement, not an airport welcome. A theatre manager fails because Claus has only “liaised with the managers of the theatres we’re going to visit” in advance.

13. A (110 euros) — the confirmed rate comes last: “I’ve been able to negotiate a rate of 110”. The sentence holds all three figures, since “The normal rate at the hotel where we’re staying is 150 euros a night” and “I’d hoped to get that down to 120 euros” both describe rejected numbers. The phrase “but in fact” signals the figure that scores.

14. B (a Lebanese restaurant) — the decision arrives after two rejections: “I decided to book a Lebanese one”. Italian fails because “Some of you suggested an Italian restaurant” and the leader overrode the suggestion, while the typical local restaurant fails because it “would be too meat-oriented for some of you”. The confession “I must confess” marks the final choice.

15. C (a theatre director) — the speaker is named by role: “the director of the play we’re going to see that evening will talk to us at the theatre”. An actor fails because actors appear only inside her story, as she will describe “how she chose the actors”. The playwright fails because the talk concerns “how she worked with the playwright”, and the playwright himself is absent.

16. F (The play will be performed for the first time) — Wednesday is the opening night: “we’re going to the premiere”. A first performance is exactly what a premiere is, so F matches the day. The playwright fails because “the playwright is ill and is unlikely to be able to attend”.

17. B (The play was written to celebrate an anniversary) — Thursday’s play has a commission behind it: “commissioned to mark a hundred years since the birth in the town of a well-known scientist”. A hundred years since a birth is a centenary, which is an anniversary, and the play was written to mark it. This year’s performance is “a revival of that production”, not a new premiere.

18. E (The play will be performed outdoors) — Friday’s venue is open air: “as it’ll be in the garden of a palace”. A garden is an outdoor space, and the warning that “there won’t be much protection from the wind” confirms there is no roof. The palace supplies the setting, but the performance happens in its garden.

19. G (The performance will be attended by officials from the town) — Saturday carries civic ceremony: “the mayor and all the other dignitaries of the town will be attending”. A mayor and dignitaries are the town’s officials, a direct paraphrase of the option. Live music fails because “there’ll be a band playing traditional music of the region” at the reception after the performance, not as accompaniment to it.

20. C (The play will be performed inside a historic building) — Monday’s setting carries its age inside the sentence: “it’s in the stunning setting of the old Town Hall, which dates back to the 14th century”. A building from the fourteenth century is historic, and the performance is inside it. The fifty-year mark belongs to the actor’s career, since “The performance marks the fifty years that the lead actor has been on stage”.

Section 3 — Scandinavian Studies First Tutorial

Questions 21–25

Choose the correct letter, A , B or C .

• Scandinavian Studies

21. James chose to take Scandinavian Studies because when he was a child he was often taken to Denmark. his mother spoke to him in Danish. a number of Danish people visited his family.

• A — he was often taken to Denmark.
• B — his mother spoke to him in Danish.
• C — a number of Danish people visited his family.

22. When he graduates, James would like to take a postgraduate course. work in the media. become a translator.

• A — take a postgraduate course.
• B — work in the media.
• C — become a translator.

23. Which course will end this term? Swedish cinema Danish television programmes Scandinavian literature

• A — Swedish cinema
• B — Danish television programmes
• C — Scandinavian literature

24. They agree that James’s literature paper this term will be on 19th century playwrights the Icelandic sagas modern Scandinavian novels.

• A — 19th century playwrights
• B — the Icelandic sagas
• C — modern Scandinavian novels.

25. Beth recommends that James’s paper should be a historical overview of the genre. an in-depth analysis of a single writer. a study of the social background to the literature.

• A — a historical overview of the genre.
• B — an in-depth analysis of a single writer.
• C — a study of the social background to the literature.

Questions 26–30

Complete the flow-chart below.

Choose FIVE answers from the box and write the correct letter, A-G , next to Questions

↓

He’ll write the complete paper.

• A. bullet points
• B. film
• C. notes
• D. structure
• E. student paper
• F. textbook
• G. documentary

• How James will write his paper on the Vikings
• He’ll read a 26 ………… and choose his topic.
• He’ll borrow a 27 ………… from Beth.
• He’ll plan the 28 ………… of the paper.
• He’ll read some source material and write 29 ………… .
• He’ll write the paper using 30 ………… .

Section 3 Answer Explanations

21. C (a number of Danish people visited his family) — James describes the family traffic: “whenever her relations or friends were in England they always came to see us”. Trips to Denmark fail because “We hardly ever did, though”, and Danish at home fails because his mother only “used to talk about her home a lot”. Visitors, not visits, shaped his childhood.

22. B (work in the media) — his plan is journalistic: “I’m interested in journalism, and I quite like the idea of moving to Scandinavia and writing for magazines”. The postgraduate course fails because “the four years of the undergraduate course will be enough for me”. Translating fails because magazine work is “more creative than translating”.

23. C (Scandinavian literature) — the disappearing course is named precisely: “the one on Scandinavian literature that’s running at the moment will be replaced by more specialised courses”. Swedish cinema fails because “That’ll continue next term”, and Danish television fails because it starts only “the term after next”. The word replaced signals the course that ends.

24. A (19th century playwrights) — James accepts the topic with a reason: “I’ve read or seen several plays in translation, so that would be a good idea”. The Icelandic sagas fail because Beth objects that “a lot of people choose that topic”, and the tutor closes the choice with “I’ll put you down for that topic”. The final agreement, not the first preference, is the answer.

25. C (a study of the social background to the literature) — Beth’s advice paraphrases the option: “get an understanding of the literature in the context of the society in which it was produced”. Society matches the option’s social background. The single-writer approach fails because she says to “avoid taking one writer and going into a great deal of detail”, and the genre history fails because context is “more fruitful than placing it within the history of the genre”.

26. E (student paper) — the first step is a model assignment: “read an assignment a student wrote last year, which is kept in the library”. A student paper paraphrases an assignment a student wrote, and the library detail confirms where to find it. A textbook fails because “Textbooks usually cover so many topics, it can be very difficult to choose just one”.

27. G (documentary) — the recommendation is explicit: “I’ve got a recording of a documentary that you should watch”. The film fails because the verdict on it is “it’s more fantasy than reality”. The documentary earns its place because it “makes some interesting and provocative points”, which will help focus the topic.

28. D (structure) — the planning step is settled in one exchange: “So then should I work out an outline?” and the reply is “Just headings for different sections, at this stage”. An outline of headings plans the structure of the paper. The flow-chart arrow that follows leads into reading and note-taking, so the planning word belongs in this box.

29. C (notes) — reading comes with a recording habit: “take notes which you organise according to those headings”. The source material is the articles and books, and the writing produced from them is notes. Bullet points belong to the later step, because the instruction is to “put short phrases and sentences as bullet points under each heading” only afterwards.

30. A (bullet points) — the final preparation is spelled out: “put short phrases and sentences as bullet points under each heading”. The skeleton of bullet points is then checked “before writing up the paper in full”. The complete paper is the last box of the flow-chart, and bullet points are the tool that builds it.

Section 4 — Managing Workplace Conflict

Questions 31–40

Complete the notes below.

Write ONE WORD ONLY for each answer.

May not like to have their decisions questioned

• Conflict at work
• Conflict mostly consists of behaviour in the general category of 31 …………
• Often a result of people wanting to prove their 32 …………
• Also caused by differences in 33 ………… between people ‘ 34 ………… ’ conflicts: people more concerned about own team than about company
• Conflict-related stress can cause 35 ………… that may last for months
• Chief Executives (CEOs)
• Many have both 36 ………… and anxiety
• There may be conflict between people who have different 37 …………
• Other managers
• A structure that is more 38 ………… may create a feeling of uncertainly about who staff should report to.
• Minimising conflict
• Bosses need to try hard to gain 39 …………
• Someone from outside the company may be given the role of 40 ………… in order to resolve conflicts.

Section 4 Answer Explanations

31. bullying — the lecturer names the category: “Much of this is covered by the term bullying”. The note asks for the general category of unacceptable behaviour, and the lecturer’s own definition is “one or more people behaving abusively or aggressively against another who is in a weaker position”. The answer is the term itself, not the definition around it.

32. superiority — the motive is stated as a need: “show their superiority over someone else”. The note paraphrases show as prove, and the gap follows their, so a singular noun is required. The hierarchy is mentioned only as the structure that holds the lowest level, and it is not the feeling the note asks for.

33. personality — the cause is a mutual mismatch: “the personality of one is in some way incompatible with that of the other person”. The note prints differences in 33 between people, and differences paraphrases incompatible. Optimism and pessimism are the lecturer’s examples, not the answer.

34. structural — the label is the lecturer’s own term: “These conflicts are called ‘structural’”. The note prints the gap inside quotation marks, because the word is a named category. These conflicts arise when a team puts itself above the company, as the sales team example shows.

35. absence — the consequence for victims is timed: “resulting in their absence from work, possibly for months”. The note paraphrases resulting in as can cause, so the noun after cause is the missing word. The stress comes first and the absence from work follows it, which is the order the note prints.

36. confidence — the pairing is set out in one sentence: “Many CEOs combine two opposing characteristics: confidence … with a high level of anxiety”. The note prints both 36 and anxiety, and the gap takes the partner of anxiety. The lecture adds that this combination makes CEOs “respond badly to anyone who questions their decisions”, which matches the note printed beside the gap.

37. visions — the source of disagreement is personal direction: “colleagues, managers and board members are all trying to achieve their own visions”. The note prints conflict between people who have different 37, and their own visions becomes different visions in the note. Strategic issues name the topics of dispute, not the thing each person holds.

38. democratic — the finding reverses the expectation: “a company with a more democratic business model, can suffer more”. The note prints a structure that is more 38, so the gap takes the adjective after more. Autocratic is the trap, because the lecture raises “an autocratic form of management” only to reject it, and the note’s clue about reporting belongs to the democratic model, where “uncertainly about who to report to leads to conflicting demands”.

39. respect — the prevention method is earned, not demanded: “earn the respect of the people they work with”. The note paraphrases earn as gain, and bosses need to try hard renders the lecture’s make efforts. Politeness and equal treatment are the behaviours that earn it, not the missing word.

40. mediator — the outside helper is named by role: “an external mediator”. Someone from outside the company paraphrases external, and the role of 40 needs a noun that names the person. Independence is the qualification, because this person can “build a clear picture of the situation” and give feedback accepted “precisely because they’re independent”.

Cambridge IELTS 12 Listening Test 2 Answers

Questions and Answers

Listening Transcripts

Section 1 Transcript

MAN: Good morning, Kenton Festival box office. How can I help you?

WOMAN: Oh, good morning. I’m coming to Kenton for a few days’ holiday next month, and a friend told me there’s a festival. She gave me this number to find out about it.

MAN: That’s right, the festival begins on the 16th of May and goes on till the 19th.

WOMAN: Oh, that’s great. I’ll be there from the 15th till the 19th. So could you tell me the programme, please?

MAN: Well, on the first day, there’s the opening ceremony, in the town centre. People start gathering around 2 o’clock, to get a good place to see from, and the events will start at 2.45, and finish about 5.30.

WOMAN: OK, thanks. I’ll make sure I get there early to get a good spot.

MAN: The festival will be officially opened by the mayor. He’ll just speak for a few minutes, welcoming everyone to the festival. All the town councillors will be there, and of course lots of other people.

WOMAN: Right.

MAN: Then there’ll be a performance by a band. Most years we have a children’s choir, but this year the local army cadets offered to perform, and they’re very good.

WOMAN: Uhuh.

MAN: After that, a community group from the town will perform a play they’ve written themselves, just a short one. It’s about Helen Tungate. I don’t know if you’ve heard of her?

WOMAN: I certainly have. She was a scientist years ago.

MAN: That’s right. She was born in Kenton exactly 100 years ago, so we’re celebrating her centenary.

WOMAN: I’m a biologist, so I’ve always been interested in her, I didn’t realise she came from Kenton.

MAN: Yes. Well, all that will take place in the afternoon, and later, as the sun sets, there’ll be a firework display. You should go to the park to watch, as you’ll get the best view from there, and the display takes place on the opposite side of the river. It’s always one of the most popular events in the festival.

WOMAN: Sounds great.

————————

WOMAN: And what’s happening on the other days?

MAN: There are several events that go on the whole time. For example, the students of the art college have produced a number of videos, all connected with relationships between children and their grandparents.

WOMAN: That sounds interesting. It makes a change from children and parents, doesn’t it!

MAN: Exactly. Because the art college is in use for classes, throughout the festival, the videos are being shown in Handsworth House.

WOMAN: How do you spell the name?

MAN: H-A-N-D-S-W-O-R-T-H. Handsworth House. It’s close to the Town Hall.

WOMAN: Right.

MAN: Now let me see, what else can I tell you about?

WOMAN: Are there any displays of ballet dancing? I’m particularly interested in that as I do it as a hobby.

MAN: There isn’t any ballet, I’m afraid, but there’ll be a demonstration of traditional dances from all round the country.

WOMAN: Oh, that’d be nice. Where’s that being held?

MAN: It’s in the market in the town centre – the outdoor one, not the covered market. And it’s on at 2 and 5 every afternoon of the festival, apart from the first day.

WOMAN: Lovely. I’m interested in all kinds of dancing, so I’m sure I’ll enjoy that!

MAN: Mmm. I’m sure you will.

WOMAN: And I’d really like to go to some concerts, if there are any.

MAN: Yes, there are several. Three performed by professionals, and one by local children.

WOMAN: And where is it being held?

MAN: It’s in the library, which is in Part Street. On the 18th, at 6.30 in the evening.

WOMAN: I presume I’ll need tickets for that.

MAN: Yes, you can book online, or you can buy them when you arrive in Kenton, either at the festival box office, or from any shops displaying our logo in the windows.

WOMAN: Well, I think that’ll keep me busy for the whole of my stay in Kenton. Thank you so much for all your help.

MAN: You’re welcome. I hope you enjoy your stay.

WOMAN: Thank you. Goodbye.

Section 2 Transcript

Right. I’ve now almost succeeded in finalising plans for our tour, so I’ll bring you up to date with what I know.

As you know, we’re flying first to Munich, on Monday the 4th.

The flight is at 11.30, so it’s too early to have lunch at the airport. I suggest we meet there for coffee at 10, which should give us plenty of time for breakfast before we leave home.

When we arrive in Munich, we’ll be met at the airport by Claus Bauer. Claus works for a tour operator, and he’ll look after us for the time we’ll be in Germany. He’s already liaised with the managers of the theatres we’re going to visit, and he’s also arranged for an officer of the National Theatre in Munich to show us round the theatre one afternoon during our stay.

Now last time we discussed this trip, I didn’t have the precise cost for hotel rooms, but now I have. The normal rate at the hotel where we’re staying is 150 euros a night for a double room. I’d hoped to get that down to 120 euros, but in fact I’ve been able to negotiate a rate of 110. That’ll be reflected in the final payment which you’ll need to make by the end of this week.

On Tuesday, the day after our arrival, I had hoped we could sit in on a rehearsal at one of the theatres, but unfortunately that’s proved very difficult to arrange, so instead we’ll have a coach trip to one of the amazing castles in the mountains south of Munich.

On Tuesday evening, we’ll all have dinner together in a restaurant near our hotel. From talking to you all about your preferences, it was clear that a typical local restaurant would be too meat-oriented for some of you. Some of you suggested an Italian restaurant, but I must confess that I decided to book a Lebanese one, as we have plenty of opportunities to go to an Italian restaurant at home.

On Wednesday afternoon, the director of the play we’re going to see that evening will talk to us at the theatre. She’ll describe the whole process of producing a play, including how she chose the actors, and, as the play we’re going to see is a modern one, how she worked with the playwright.

——————

Right. Now I’d just like to make a few points about the plays we’re going to see, partly because it might influence your choice of clothes to take with you!

The play we’re seeing on Wednesday evening is a modern one, and we’re going to the premiere, so it’ll be quite a dressy occasion, though of course you don’t have to dress formally. I gather it’s rather a multimedia production, with amazing lighting effects and a soundtrack of electronic music, though unfortunately the playwright is ill and is unlikely to be able to attend.

On Thursday we’re seeing a play that was first performed last year, when it was commissioned to mark a hundred years since the birth in the town of a well-known scientist. We’re going to see a revival of that production, which aroused a lot of interest.

Friday’s play will really make you think hard about what clothes to pack, as it’ll be in the garden of a palace. It’s a beautiful setting, but I’d better warn you, there won’t be much protection from the wind.

On Saturday, we’re going by coach to a theatre in another town, not far from Munich. This will be the opening of a drama festival, and the mayor and all the other dignitaries of the town will be attending. After the performance, the mayor is hosting a reception for all the audience, and there’ll be a band playing traditional music of the region.

And after having a day off on Sunday, our final play is on Monday, and it’s in the stunning setting of the old Town Hall, which dates back to the 14th century. The performance marks the fifty years that the lead actor has been on stage, and the play is the one where he made his first professional appearance, all those years ago.

And the day after that, we’ll be flying back home. Now have you got any questions before I …

Section 3 Transcript

BETH: Oh good morning. You must be James. I’m Beth Cartwright – please call be Beth.

JAMES: Thank you.

BETH: Now as this is your first tutorial since you started on the Scandinavian Studies course, I’d like to find out something about you. Why did you decide to take this course?

JAMES: Well, my mother is Danish, and although we always lived in England, she used to talk about her home a lot, and that made me want to visit Denmark. We hardly ever did, though – my mother usually went on her own. But whenever her relations or friends were in England they always came to see us.

BETH: I see. So I assume you already speak Danish, one of the languages you’ll be studying.

JAMES: I can get by when I talk to people, though I’m not terribly accurate.

BETH: Now you probably know that you’ll spend the third year of the course abroad. Have you had any thoughts about that?

JAMES: I’m really looking forward to it. And although Denmark seems the obvious place to go, because of my family connections, I’d love to spend the time in Iceland.

BETH: Oh, I’m sure it can be arranged. Do you have any plans for when you graduate? A lot of students go on to take a master’s degree.

JAMES: I think the four years of the undergraduate course will be enough for me. I’m interested in journalism, and I quite like the idea of moving to Scandinavia and writing for magazines. I’d find that more creative than translating, which I suppose most graduates do.

BETH: OK. Now how are you finding the courses you’re taking this term, James?

JAMES: Well, I’m really enjoying the one on Swedish cinema.

BETH: That’ll continue next term, but the one on Scandinavian literature that’s running at the moment will be replaced by more specialised courses. Oh, and by the way, if you’re interested in watching Danish television programmes – there’s going to be a course on that the term after next.

JAMES: That sounds good.

BETH: Have you started thinking about the literature paper that you have to write in the next few weeks?

JAMES: Yes, my first choice would be to do something on the Icelandic sagas.

BETH: Hmm. The trouble with that is that a lot of people choose that topic, and it can be difficult to get hold of the books you’ll need. Why not leave that for another time?

JAMES: Right.

BETH: You might find modern novels or 19th century playwrights interesting.

JAMES: I’ve read or seen several plays in translation, so that would be a good idea.

BETH: Fine. I’ll put you down for that topic.

JAMES: Right. So what would you advise me to aim at in the paper?

BETH: First I suggest you avoid taking one writer and going into a great deal of detail. That approach certainly has its place, but I think you first need to get an understanding of the literature in the context of the society in which it was produced – who it was written for, how it was published, and so on. I also think that’s more fruitful than placing it within the history of the genre.

JAMES: OK, that sounds reasonable.

————————

JAMES: Could I ask for some advice about writing the paper I’m working on about the Vikings? I have to do that this week, and I’m a bit stuck.

BETH: Of course. Have you decided yet what to write about?

JAMES: No, I haven’t. There’s so much that seems interesting – Viking settlement in other countries, trade, mythology …

BETH: Well, what I suggest is that you read an assignment a student wrote last year, which is kept in the library. It’s short and well focused, and I’m sure you’ll find it helpful. I’ll give you the details in a moment. Textbooks usually cover so many topics, it can be very difficult to choose just one.

JAMES: OK. I’ve got a DVD of the film about the Vikings that came out earlier this year. Should I watch that again?

BETH: If it’s the one I am thinking of, hmm, I’d ignore it – it’s more fantasy than reality. But I’ve got a recording of a documentary that you should watch. It makes some interesting and provocative points, which I think will help you to focus your topic.

JAMES: Right.

BETH: So then should I work out an outline?

JAMES: Yes. Just headings for different sections, at this stage. And then you should start looking for suitable articles and books to draw on, and take notes which you organise according to those headings.

BETH: I see.

JAMES: Then put short phrases and sentences as bullet points under each heading. Make sure that this skeleton makes sense and flows properly, before writing up the paper in full.

BETH: OK. Thanks, that’s very helpful.

Section 4 Transcript

Over the years, attitudes towards workers have changed considerably. After all, there was a time when workers had no rights at all, and laboured in appalling conditions. Conditions have improved a lot, but conflict in the workplace is still common. And human resources managers nowadays need to be able to deal with it when necessary.

What is conflict in the workplace? Definitions vary, but I’m taking it to refer to a whole range of behaviours that the victim finds unacceptable, from minor, harmless arguments to – at the opposite extreme – physical violence. Much of this is covered by the term bullying, by which I mean one or more people behaving abusively or aggressively against another who is in a weaker position. Although all behaviour like this is a form of conflict, not all conflict can be described in these terms.

As with all human behaviour, there are numerous reasons for it. But often it’s caused by someone who feels the need to show their superiority over someone else, in order to feel that they aren’t at the lowest level in a hierarchy or a group of people.

In some cases one person simply dislikes the other, on the basis that the personality of one is in some way incompatible with that of the other person. A general habit of optimism in one person could make them intolerant of a colleague who’s constantly pessimistic – not that that justifies treating them badly, of course.

Some conflicts arise when people are more interested in promoting themselves and their team than in the company as a whole. These conflicts are called ‘structural’, and could come about, for example, when a sales team believe they are the only people in the business who do any useful work, and look down on behind-the-scenes administrators.

Conflict obviously affects the individuals concerned – the situation is likely to be very stressful for victims, resulting in their absence from work, possibly for months. For the company, if no effort is made to deal with conflict, it can spiral out of control, and even lead to the breakdown of the business.

Some interesting work with chief executives – CEOs – has uncovered some of the reasons why they may treat colleagues badly. Many CEOs combine two opposing characteristics: confidence – that is, the belief that they’re capable of great achievements – with a high level of anxiety, a fear of missing targets, whether set by themselves or by the directors of the company. This combination can make them respond badly to anyone who questions their decisions.

In a high pressure work environment, such characteristics become problematic. And it’s particularly difficult to tackle the situation where colleagues, managers and board members are all trying to achieve their own visions. When they can’t agree on strategic issues and on where they see the business going, there are real problems.

For managers at lower levels within the organisation, it might seem that an autocratic form of management – where the chief executive gives orders and everyone else has to obey – would see more conflict than others. Interestingly, though, a company with a more democratic business model, can suffer more, when uncertainly about who to report to leads to conflicting demands.

Now I’ll say a little about dealing with the type of conflict that has harmful effects. Of course the ideal is to prevent it arising in the first place. A good manager, at any level, will make efforts to earn the respect of the people they work with, particularly those who report to them. That will involve politeness in all communications, and treating them as equals who happen to have a different role within the organisation.

Sometimes, of course, conflict does occur, and can get out of hand. In such cases the human resources department often gets involved. However, if one of the parties in a conflict sees human resources as simply a mouthpiece for the chief executive, then an external mediator might be able to help. By talking to both sides, and trying to find the truth of what’s been happening, they can build a clear picture of the situation, and give feedback that both sides will accept, precisely because they’re independent.

Listening Band Score Conversion

Your raw score out of 40 converts to an IELTS band score using the official listening conversion table below.

Key Vocabulary and Spelling

Study Tips

Plan the paper as one thirty-minute performance, not four short tests, because fatigue costs the most marks in Sections 3 and 4. Note completion fills Sections 1 and 4, so read the note completion strategy before you start, and use the minute of preparation time before each section to predict the word class of every gap.

Sections 2 and 3 both mix multiple choice with a task that uses letters from a box, and both punish anyone who matches words instead of meaning: the recording says premiere, garden of a palace and I’ll put you down for that topic, while the options say first time, outdoors and the agreed topic. The multiple choice strategy covers the elimination routine that keeps these letters under control.

Keep spelling discipline across the whole paper: Handsworth is dictated letter by letter in Section 1, 2.45 must be written as digits, and ONE WORD ONLY gaps in Section 4 lose the mark the moment a second word appears. Reread every answer in the check-over time at the end, because format and spelling errors are the cheapest marks to lose in an otherwise strong performance.

Practice More Listening Tests

Mark the full paper, read the explanation behind every miss, and note which section cost you the most marks, because that section names your next practice block. The free IELTS listening practice course from Simply IELTS covers each question type in this paper with audio, answer keys and feedback. Then try this interactive listening test: childcare services, and continue the series with the Cambridge IELTS 10 Listening Test 2 answers page to keep the daily habit alive.