Turning a Hobby into a Career

PART 8: You are going to read an article in which four people talk about careers involving foreign languages. For questions 47–56, choose from the people (A–D).

Turning a Hobby into a Career

A

I had piano lessons when I was young, and I did have some talent. But it became obvious I'd never be good enough for a career on the stage. In a way, I was lucky. If I hadn't realised that early on, I probably would have carried on dreaming that my big break would come. As it is, I became a music teacher instead, and in my free time I started to dabble in the technical side of music production. Then an aunt died, leaving me some cash, and I set up my own recording studio! Of course, there is a downside to turning a hobby into a career. I love my job so much that I used to work seven days a week, but after a while, I realised you need to switch off occasionally. My job has definitely added depth to the way I listen to music; now I can really understand why someone's using a certain technique or piece of equipment.

B

I studied medicine, but when I finished medical school, I had a sort of crisis. I knew I couldn't go on with it! I'd have been an awful doctor. But I was keen on amateur dramatics and I enjoyed putting on plays at the local youth centre. So I started wondering if I could make a living from teaching drama. A friend suggested I should offer acting lessons for children. It was tricky and at first, I couldn't work out how to find people who would pay for their children to attend the kind of courses I wanted to run. Then someone at an organisation called Business Link, which helps people set up their own businesses, suggested advertising on the internet! I was contacted by a surprising number of interested people and five years down the line, I'm still doing all right. The classes themselves aren't terribly lucrative, but I supplement my income by giving talks to amateur dramatic societies and writing articles for magazines.

C

When I left college, I started working in a bank, but my heart was never really in it. The problem was partly the environment: I don't like working in an office. I'm more of an outdoor person – and I'd always been crazy about surfing. One summer while I was on holiday, I got chatting to the owner of a surf shop. It turned out he was good friends with a cousin of mine. He said he wanted to sell up and I jumped at the chance to buy the business from him! Looking back, I can see how lucky I was. It's incredibly difficult to set up a shop like that from scratch. Besides, being an avid surfer myself, I assumed a lot of other people must share that interest – which isn't the case! It took me a while to realise how naïve I was. Now that I've learnt the ropes, I'm considering either expanding – more shops, managers and so on – or diversifying, perhaps producing my own surf boards! The second option is more likely because it interests me a lot.

D

I wanted to study graphic design when I left school, but I didn't have good enough grades. So I got a job in a garage instead and for the next 10 years, I worked as a car mechanic. But while I was working, I did some evening courses in industrial design. I even built a car of my own from spare parts. Then I got the idea of building a bike – a four-wheel delivery bike – and the next thing I knew, my wife was urging me to set up my own company! I had to take a very deep breath before I finally took the plunge. I'd done my best to prepare for it, taking a course in Business Management in my spare time, and I knew I'd be working longer hours for less money, at least at first. The big difficulty was the uncertainty of not knowing how much would be coming in each month. And things were pretty tough for the first few years – looking back, I can see that I underestimated the amount of paperwork I'd have to do – but I've never regretted it.

Questions 47–56

In which section of the article are the following mentioned?

47. an enhanced appreciation of other people's work
48. thoughts about the future
49. the financial necessity for engaging in other ventures as well
50. encouragement from a family member
51. advice from a specialist
52. the value of assessing one's abilities objectively
53. identifying potential customers
54. an impulsive decision
55. a feeling of apprehension about making a major change
56. academic qualifications which were never used

This is Your Brain on Music: The Science of a Human Obsession

 

PART 6: You are going to read four reviews of a book about the connection between music and the brain. For questions 37–40, choose from the reviews A–D. The reviews may be chosen more than once.

This is Your Brain on Music: The Science of a Human Obsession

by Daniel Levitin

Four reviewers comment on Daniel Levitin's book about the neuroscience of music.

Review A

Scientific analysis of difficult concepts regarding how music works and the psychological processes involved in our interactions with it is something few of us are comfortable with, but in trying to keep things simple for a non-specialist audience, as far as technical terms are concerned, Levitin too often ends up dumbing down. A number of small errors obvious to a knowledgeable musician – like the tonic pitch of a scale being referred to as the root, when only chords have roots – fuel this sense of irritation. It's a fascinating subject, however, made more so by Levitin's decision to explain it against the background of his own intriguing narrative. A successful rock musician for many years, he switched careers and became a professor of psychology and music. This background shows in his sensitive choice of familiar tunes and songs that he uses to illustrate concepts and theories.

Review B

We can all enjoy music, yet the theory of it can seem excessively complex, and you'd think the study of its effect on the brain even more so. The success of this book, by a musician and record producer turned neuroscientist, is both that it goes out of its way to make the general reader feel at ease, and that it celebrates our extraordinary capacity for analysing and understanding music. Consider the job the brain has to do in separating and processing even, say, the sound of a cat's purr or a refrigerator's hum, merely by analysing the way that various air molecules cause the eardrum to vibrate. Then go and listen to your favourite piece of orchestral music or even pop music. Levitin's anecdotes about famous musicians he has met and played with are worth passing over, but the rest of this excellent introduction will leave your brain buzzing.

Review C

Setting jargon aside in favour of everyday terminology, Levitin gives readers enough background to understand what to listen for in music and to connect what they hear to his science. Having been a musician and producer in the music industry before turning to science, Levitin knows about communication, and wisely weaves in stories about music making and working with musicians to make the science easier to relate to. The bulk of the music Levitin talks about, however, is pop. Classical music, or modern music in that tradition, is sometimes referred to in patronising terms, but for the researcher interested in the achievements of the brain, one might think that classical music's larger structures and more complex achievements would provoke greater interest and even richer evidence. It is also disappointing to come across flawed accounts of certain aspects of musical acoustics and music theory. But overall, this book is an admirable contribution to popular science.

Review D

It is to Levitin's credit that this book contains clear, well-informed explanations of a range of musical phenomena and their underlying psychological processes. It should be stimulating and accessible to the non-specialist. His attempt to make the science easier to grasp by regular reference to his own career in music – as a musician, producer and neuroscientist – is well intentioned, but there are times when we could do with fewer funny stories and more attention to detail. This is more than just a stylistic point. There are misleading descriptions of significant research work, for example. The choice of music to illustrate his arguments is refreshingly free of high-art bias but it draws so strongly on Levitin's own musical preferences that some readers who do not share his musical tastes may feel lost. Despite my misgivings, however, Levitin's efforts to show a lay audience how music is at the centre of human experience and evolution are to be applauded.

Questions 37–40

Which reviewer:

37. has a similar view to reviewer C regarding Levitin's selection of musical examples?
38. takes a different view to the others about the accuracy of the book's content?
39. shares reviewer D's opinion about the extent to which Levitin includes information about himself?
40. has a different opinion from the others regarding the suitability of the writing style for the target readers?

Mind Your Languages

 

PART 7: You are going to read a magazine article. Six paragraphs have been removed from the article. Choose from the paragraphs A–G the one which fits each gap (41–46). There is one extra paragraph which you do not need to use.

Mind Your Languages

Thousands of the world's languages are dying, taking to the grave not just words but records of civilisations and cultures that we may never fully know or understand. Linguists have calculated that of the 6,000 languages currently spoken worldwide most will disappear over the next 100 years. As many as 1,000 languages have died in the past 400 years. Conversely, the handful of major international languages are forging ahead.

Gaps 41–46

(Article text with six missing paragraphs.)

Paragraphs A–G

A

This is one of the things worrying linguists working in Fiji in the South Pacific. There are hundreds of known remedies in Fiji's forests. The guava leaf relieves diarrhoea, the udi tree eases sore throats, and hibiscus leaf tea is used by expectant mothers. There are possibly several more yet to be discovered.

B

'I accept this,' says Kortlandt, 'but at the very least, we can record as much as we can of these endangered languages before they die out altogether. Such an undertaking naturally requires support from international organisations.' But what progress is being made in this respect?

C

Kortlandt elaborates further: 'If you want to understand the human species, you have to take the full range of human thought into consideration. The disappearance of a language means the disappearance of a culture. It is not only words that disappear, but also knowledge about many things.'

D

To non-linguists while particular stories like this can be fascinating, it must seem odd to get worked up about the broader issue. Why waste so much time saving languages spoken by so few? Why look back instead of forward?

E

For example, Chinese is now spoken by 1,000 million people and English by 350 million. Spanish is spoken by 250 million people and growing fast.

F

'There are about 200 languages spoken in this area, but only a few have been properly described,' says Kortlandt. 'The problem is it can take years to document a language. We are generally happy when we have a group of texts we can read and understand with the help of a reliable grammar and dictionary.'

G

This often means trekking to some of the most inaccessible parts of the Earth and can require consummate diplomacy in dealing with remote tribes, some of which may be meeting outsiders for the first time and may be wary of strangers asking for so much information about their language.

The Cinderella Story

PART 5: You are going to read a magazine article. For questions 31–36, choose the answer (A, B, C or D) which you think fits best according to the text.

The Cinderella Story

The basic story is very old indeed and familiar to most of us. The heroine, Cinderella, is treated cruelly by her stepmother and mocked by her two ugly stepsisters. Even though her father loves her, she can't tell him how unhappy she is because her stepmother has bewitched him. One day, Cinderella's stepmother and stepsisters are invited to a ball at the royal palace. Cinderella is told she cannot go and is understandably very unhappy. However, her fairy godmother comes to the rescue and, waving her magic wand, produces some beautiful clothes for Cinderella, as well as a carriage to convey her to the ball. There, she dances with the handsome prince, who falls in love with her, not only because she is beautiful but also because she is good and gracious. Cinderella has been warned that the magic will wear off at midnight, so when the clock strikes 12, she hurries away, leaving behind a glass slipper. Next day, the prince, smitten by her charms, comes looking for the girl whose foot fits the glass slipper. He finds Cinderella and they marry amid general rejoicing.

Just a sweet, pretty tale? Not in the view of Ellen Macintosh, who has written extensively about fairy tales. 'This story features the stock, two-dimensional characters of most fairy tales, and little character development is attempted,' she says. Indeed, although her comment does make one wonder why simplicity of this sort should be out of place in a story for children. Be that as it may, Ellen's main problem is with what the story implies. 'Instead of standing up to her cruel stepmother and absurd stepsisters, Cinderella just waits for a fairy godmother to appear and solve her problems. But wouldn't you want a daughter of yours to show more spirit?'

The story is enduring, whatever its shortcomings, and it doesn't take much in the way of analytical skills to see its influence on a number of recent Hollywood productions, all aimed at girls aged five to 15. In these versions for the silver screen, the Cinderella character no longer has to clean the house and has no siblings to make her life a misery, though she persists in not showing much backbone. The character of the rich and handsome stranger, however, is retained, and in some cases really is a prince. The role of the fairy godmother is often played by coincidence or sheer luck. We live in an enlightened age when even very young children might reject the notion of fairies. The wicked stepmother may be transformed into a villain of some sort. In the majority of film versions, the heroine has a profession and is even permitted to continue working after marrying her prince – this is the 21st century, after all.

Doesn't the success of these films indicate that the story has relevance to children even today? 'Yes,' admits Ellen, who sees its message as being rooted in a fundamental childhood desire for love and attention. 'Most children experience a sense of inner loneliness as they are growing up and empathise with the protagonist who faces some sort of test or challenge. This can be seen in the original story of Cinderella, where the fairy godmother tells the heroine that she must learn to be gracious and confident if she is to go to the ball. She has to grow spiritually, and by maturing, she becomes attractive to the prince, thus ensuring that the ending of the story will be happy. In the later versions, this element is missing,' says Ellen, 'and the theme of the story is simply that a girl's role in life is to be more beautiful than other little girls so that she can carry off the prize: the handsome prince. Is this really what we want girls to grow up believing?'

Questions 31–36

31. What does the writer imply about fairy tales in the second paragraph?

A Fully developed characters would improve them.

B The story lines are very straightforward.

C It is unrealistic to expect character development.

D It is a mistake to consider them sweet and pretty.

32. What is Ellen's primary objection to the Cinderella story?

A The heroine is treated cruelly.

B The heroine is not assertive enough.

C The ugly stepsisters are figures of ridicule.

D The stepmother is not a convincing character.

33. Modern film adaptations of the story tend to present a Cinderella...

A whose character remains basically unchanged.

B who is luckier than she is in the original story.

C whose circumstances are unusual.

D that many children might find unconvincing.

34. Modern variants on the story generally...

A portray Cinderella as a successful professional.

B imply that Cinderella will become a real princess.

C reflect children's beliefs.

D make concessions to modern women's lives.

35. In Ellen's view, what makes the Cinderella story so appealing?

A Children can identify with the heroine.

B Little girls enjoy being challenged.

C It has an element of magic.

D Cinderella is more beautiful than other girls.

36. Unlike the original tale, modern versions of the Cinderella story...

A suggest that girls do not need strength of character.

B do not require the heroine to develop.

C underestimate the power of love.

D are aimed solely at young children.

The jigsaw history puzzle

 

PART 3: For questions 17–24, read the text below. Use the word given in capitals at the end of some of the lines to form a word that fits in the gap in the same line.

Example: INTRIGUING

The jigsaw history puzzle

Of all the games in the world, the jigsaw puzzle must be among the most widely known. Yet its early history presents an (0)________(INTRIGUE) puzzle of its own.

Officially, the jigsaw puzzle (17)________(ORIGIN) in England, and its (18)________(INVENT) was John Spilsbury, a London engraver and map maker. It is also an apparently (19)________(DISPUTE) fact that in 1767 Spilsbury created a puzzle, (20)________(INITIAL) known as a 'dissected map', by mounting one of his maps on a piece of hardwood and cutting around the borders of the countries. His puzzles came to be used in schools to help children learn geography.

However, as is almost (21)________(VARIABLE) the case with inventions, some doubts have been raised about whether Spilsbury's puzzle was the first. This was an age of exploration, and new (22)________(DISCOVER) demanded that maps be constantly (23)________(DATE). There is some evidence that two Dutch map makers have produced map puzzles ten years before Spilsbury. The evidence is (24)________(CONCLUDE), however, and advertising for their dissected maps only appears in 1779.

Electric Cars: Driving the Future Responsibly

 

What phrasal verbs with the preposition 'on' do you know?

 ⚡ Electric Cars: Driving the Future Responsibly

 

As the world faces the growing threat of climate change, governments increasingly call on industries to reduce their carbon emissions. One of the most promising solutions is the rise of electric cars, which run on rechargeable batteries instead of fossil fuels. Although still developing, this technology has begun to catch on rapidly in both developed and emerging markets.

 

To improve efficiency, engineers draw on decades of research in battery chemistry and renewable energy. Modern lithium-ion batteries are lighter, faster to charge, and more durable than ever before. However, experts agree that society must move on from relying on non-renewable sources to power the electricity grids that feed these vehicles. Without cleaner energy production, electric cars will only take on part of the environmental challenge, not the whole picture.

 

Manufacturers also stay on the lookout for ways to recycle old batteries safely, minimizing toxic waste. Initiatives like second-life energy storage systems show how innovation can align with sustainability goals.

 

Still, it’s not just about technology—it’s about mindset. People must come on board and recognize that responsible consumption plays as big as a  production role itself. If humanity can maintain this collective effort, the transition to electric mobility may represent one of the most significant steps toward a cleaner and more sustainable planet.

Lasallian Values in the Undergraduate Programme of Communication at La Salle University Cancun

Lasallian Values in the Undergraduate Programme of Communication at La Salle University Cancun

 

La Salle University Cancun offers an Undergraduate Programme of Communication that not only provides academic excellence but also integrates Lasallian values into its curriculum. These values—faith, service, fraternity, and commitment—are central to the university's mission and are reflected in the training of communication professionals.​

 

The program equips students with the skills to design and implement communication strategies across various media platforms, including video, radio, and social media. Students learn to create messages that are informative, educational, and entertaining, always considering ethical standards and social responsibility.​

 

Beyond technical skills, the program emphasizes the importance of social justice and community engagement. Students are encouraged to participate in academic events, collaborative projects, and internships that foster a sense of solidarity and service. Facilities such as a television studio, radio booth, and photography lab support hands-on learning experiences.

 

Graduates are prepared to lead with empathy and integrity, embodying the Lasallian commitment to serving others and promoting human dignity. They are equipped to address communication challenges in diverse contexts, contributing positively to society.

 

Reading Comprehension Exercise:

https://www.topworksheets.com/t/rGH1qFa2haN

Closing Speaking Practice in Teams: How do you think that the school values are reflected in your undergraduate programme?