Listening audioscript

1. WHY IS THE PROFESSOR DISCUSSING LEAF ARRANGEMENTS WITH THE 
STUDENTS? 
2. WHAT POINTS DOES THE PROFESSOR WANT TO MAKE ABOUT LEAF 
ARRANGEMENTS ON PLANTS? 
3. DRAG THE APPROPRIATE DESCRIPTION OF EACH TYPE OF LEAF 
ARRANGEMENT TO THE BOX BELOW THE NAME OF THE LEAF 
ARRANGEMENT.
4. DRAG THE APPROPRIATE DESCRIPTION OF LEAF ARRANGEMENT 
OCCURRENCES TO THE BOX BELOW THE NAME OF THE LEAF 
ARRANGEMENT.
5. WHAT DOES THE PROFESSOR SAY ABOUT THE BOTANICAL 
 GARDEN? 
6. LISTEN AGAIN TO PART OF THE LECTURE. THEN ANSWER THE QUESTION.
(Professor)
Well…see you Friday with your lists … uh … Hold on for a minute! Ah 
just a word of warning…. You’d better not put off the assignment until 
Thursday evening, as I’m sure many of you are used to doing. 
WHAT DOES THE PROFESSOR MEAN WHEN HE SAYS THIS? 
(Professor) 
Hold on for a minute! 
 
LISTENING POST-TEST 
 
Page 211
[ mp3 087-088]
 
 
Questions 1 through 5.
Listen as a student consults with a professor. 
(Student)
Hello, Dr. Trent. 

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LPREP IBT 3 E AudioScript 
65
(Professor)
Hi, Sandy. Come on in. Is there something you wanted to talk about with 
me? 
(Student)
Yes, it’s about the project in music class. 
(Professor)
What’s your question? 
(Student)
Um, … I’m just not sure what you want me to do for the project. 
(Professor)
I explained it in class, today…. You were in class, weren’t you? 
(Student)
Oh, yeah. I was. I just didn’t quite get it. 
(Professor)
Well, then, why don’t you tell me what you understood about the project. 
(Student)
OK. I know you said that we should choose a composer…. 
(Professor)
Yes, that’s right. So do you have a composer in mind? 
(Student)
No, not yet. I don’t know anyone that well. 
(Professor)
That’s fine. You have time to think about it.
(Student)
Um, does it have to be a composer that we’ve talked about in class, or 
can it be a different composer? 
(Professor)
Well, look. If you had some personal favorite in mind, someone you know 
and love, then I’d say definitely go for it. In your case, though, a 
composer from class would mean you’d have some basic knowledge. 
You wouldn’t be starting from scratch…but ultimately it’s up to you. 
(Student)
OK. 
(Professor)
So, after you’ve chosen a composer…? 
(Student)
Oh, uh…so then we’re supposed to research the composer. That doesn’t 
sound too bad to me. 
(Professor)
And what’re you supposed to learn about him or her? 
(Student)
I know we were supposed to learn about the composer’s style … the 
style of writing music. 
(Professor)
Yes, 
exactly. 
(Student)
But are we also supposed to learn about the person—I mean about his 
life? 
(Professor)
Some background about his life would be helpful, but really, the focus is 
on the composer’s style of writing. Is that clear? 
(Student)
Yes, it is. 
(Professor)
And, for the final part of the project? 
(Student)
That’s the hard part, if I understood you correctly in class. 
(Professor)
Well, it’s the most interesting and challenging part, I think…. 
(Student)
We’re supposed to write a short piece of music in the style of this 
composer. 
(Professor)
Yes, that’s right. 
(Student)
That’s a lot harder than doing some research. I’m not sure I can do that. 
(Professor)
I think you’re capable. Keep in mind that it’s just a very short piece, but it 
does have to be in the style of the composer you’ve chosen. 
(Student)
That’s what I thought you said in class … but it sounds so hard. 
(Professor)
It’s not going to be a piece of cake, but I actually think you’ll have fun 
once you get into it. Look, let me explain what another student did last 
semester to give you an idea.
(Student)
OK, that might help. 
(Professor)
So, you remember the Schubert we listened to this week? The 
Impromptu No. 3 in G Flat Major? 
(Student)
Yeah, that’s the one that started off slow and soft and then got tense in 
the middle and then resolved it all at the end. 

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LPREP IBT 3 E AudioScript 
66
(Professor)
That’s the one. It displays some of the very long melodies that Schubert 
wrote—melodies that didn’t repeat a lot. And it shows some of Schubert’s 
use of modulation to build tension. Anyway, Schubert wrote a lot of short 
pieces and songs. Um, do you remember me talking about the German 
songs, um the Lieder? 
(Student)
Yeah, I remember you talking about them. That was when you were 
talking about how the melodies of the songs kind of reflected the German 
language. 
(Professor)
Yes, exactly. Keep going. Tell me what else you remember. 
(Student)
Uh, it was that the German songs had short, syllable-based melodies, 
not long and drawn out like the Italian operas.
(Professor)
Good. I think you’ll do fine with this. One of my students last semester 
was…well, she was not very confident in her ability, and she chose to do 
Schubert and concentrated on the Lieder, uh, the German songs. She 
did a short song, or part of one. Um, first she researched Schubert and 
concentrated on his songs…she listened to a bunch of them and found a 
piece of poetry to put her music to. Then she put together something that 
had a similar style. 
(Student)
How did it turn out? 
(Professor)
It was charming actually. As yours could be, but that doesn’t matter so 
much. Don’t worry about whether it’s a great piece of music. Imitate the 
style of the composer and do your best. 
(Student)
Alright, I think I can at least get it started. But when I do the research and 
figure out the style, can I check in with you to see if what I’m doing is 
what you want? 
(Professor)
If you get it all started, of course I’ll give you some pointers. But, like I 
said, I think that you’ll actually like it once you get going.