Transcript for test 37

Section 1

Pieter Henes: Good morning. I'd like to open a bank account, please.

Customer Service Manager: Certainly. If you'd like to take a seat, I'll just get some details from
you. It won't take long.

Pieter Henes: Thanks.

Customer Service Manager: Is it a current account or a deposit account you wanted?

Pieter Henes: A current account.

Customer Service Manager: Right. I've got the application form here then. We have different
types — I see you've got our leaflet there.

Pieter Henes: I've decided on the one called 'Select.'

Customer Service Manager: Right, that's fine, so, first of all, can I have your full name please?

Pieter Henes: Yes, it's Pieter Henes. That's P-I-E-T-E-R.

Customer Service Manager: Is it H-E-double N-E-S?

Pieter Henes: Uh, only one N actually. It's a less common spelling of the name.

Customer Service Manager: Oh, right. OK. And what's your date of birth please?

Pieter Henes: The twenty-seventh of the first, nineteen seventy-three.

Customer Service Manager: Right. And will this be a joint account?

Pieter Henes: No, just myself.

Customer Service Manager: OK, fine. And where are you living, Mr Henes?

Pieter Henes: 15, Riverside.

Customer Service Manager: Is that all one word?

Pieter Henes: Yes.

Pieter Henes: Yes.

Customer Service Manager: How long have you been at your present address? Er, is it more
than two years?

Pieter Henes: Ah, just two weeks actually. I only arrived in the country a month ago. I'm from
Holland.

Customer Service Manager: Oh, that's fine. But we normally ask for a previous address in that
case.

Pieter Henes: Oh yes, well, it's Rielsdorf 2. That's R-I-E-L-S-D-O-R-F 2, Utrecht.

Customer Service Manager: Holland. OK. Thank you. Do you have a daytime telephone
number?

Pieter Henes: Yes, I think the number at my office is six-oh-six-two-nine-five. Um, just a minute
I'd better check. Oh, no sorry, six-one-six. I'm not used to it yet. Would you like my home
number too?

Customer Service Manager: Yes please.

Pieter Henes: It's seven-nine-six-four-three-one.

Customer Service Manager: Are they both local numbers'?

Pieter Henes: Yes

Customer Service Manager: Right. And your occupation?

Pieter Henes: Well, I'm in Britain as a project manager, but that's not my main job. I'm an
engineer by profession.

Customer Service Manager: I see. I think I'll put that then. It's shorter! Now we usually ask for a
piece of information which we can use to check your identity, for security reasons. You know, if
you phone us.

Pieter Henes: Like, erm, my wife's first name?

Customer Service Manager: Mother's might be better. It's less likely to be known.

Pieter Henes: OK. Hers is Siti. Siti? Yes, S—I—T—I. It's Indonesian.
Customer Service Manager: Fine. And how much would you like to open your account with? We
usually ask for a minimum sum of £50. That's about €75.

Pieter Henes: Well, I'm going to transfer €2,000 from my Dutch account, just till I get paid. In
fact, I wanted to ask you about that. What's the best way to do it?

Customer Service Manager: It depends which bank you're with.

Pieter Henes: It's the Fransen Bank in Utrecht.

Customer Service Manager: OK, fine. I'll check that in a minute. If we have links with them we
can do a direct transfer. But it's not a big problem either way. Um, let's see, how often would
you like to receive statements?

Pieter Henes: I haven't really thought. Um, what's the usual thing?

Customer Service Manager: It's up to you. Some people like them weekly.

Pieter Henes: Oh, no, that's too often. Can I have them sent, um, once a month?

Customer Service Manager: Yes, that's fine. Is there anything else?

Pieter Henes: I was thinking of registering for your internet service at some stage.

Customer Service Manager: Oh yes, would you like me to send information about that ?

Pieter Henes: Please, yes

Customer Service Manager: And would you like to receive information about the bank’s other
services insurance, loans, anything like that?

Pieter Henes: I don’t think so, thanks

Customer Service Manager: That’s okay then.

Section 2

Welcome, everybody, to the lovely house and gardens of Rosewood, once the home of the
famous writer, Sebastian George. He bought the house in 1902 although he had first seen it two
years earlier. At that time, the owners let it out to a tenant because George was too slow making
up his mind to buy it. When it came back on the market, there was no hesitation and he bought
it immediately, for £9,300, even though the house had no bathroom, no running water upstairs,
and no electricity. When he came here, he'd been married for ten years. During that time, he'd
become one of the most famous writers in the English-speaking world. His professional success
was enormous, but his personal life wasn't as successful. He was no longer on speaking terms
with his brother and had been devastated by the death at the age of seven of his elder
daughter, Josephine.

Moving to Rosewood allowed the family to start a new life. George regarded Rosewood as a
pure example of a traditional country house of this part of England and did some of his most
successful writing here. The house and its grounds became the family haven and their escape
to privacy and quiet. The walls, and the mullioned windows were built of the local sandstone, the
tiles on the roofs and the bricks of the chimney stack were baked from local clay, and the
wooden structures inside came from oak trees which grow around here.

Now, please look at the map I've given you of the house and gardens. We're here at the
Information Centre. Follow the path marked with the arrow and the first area you come to is the
orchard on your left. As you go further down the path, there's the kitchen garden on the right
and as you go round the first sharp corner you will find, to your left, an area where different
types of pear tree have been planted as well as some lovely flowers, and this is known as Pear
Alley -designed by George himself. Next to this is the greenhouse where some exotic plants and
fruits are grown. Follow the path round the second corner and on your right you will see the
entrance to the Mulberry Garden with its 500-year-old tree.

Past the Mulberry Garden, follow the path until you reach the front of the house. I suggest you
spend a good hour wandering around this lovely building. A guide takes visitor groups round
every two hours. If you would like to purchase any of George's books or other souvenirs, then
leave the house by the side entrance, where you will find our shop, which is situated between
the house and the garage which contains the magnificent old Rolls-Royce car which used to
belong to George. I expect by this time you may also be in need of a rest and some
refreshment. Most visitors are, so why don't you visit the tea room on the far side of the
garage?

If you have time, there is a lovely walk down towards the River Dudwell. For me, this is the best
part of the estate. This isn't on the map but it is all clearly signposted. You cross the field which
spreads along the banks of the river. In spring, this area is well worth a visit. Spend a minute or
two watching the water pass by underneath as you cross the footbridge, and then continue
along the River Walk through the woodland. On a hot summer's day the trees along this path
provide welcome shade. Eventually you come to the water mill which used to provide the
electricity for the house — only about four hours every evening — in George's time. And, finally,
for those of you who would like to see stunning views of the surrounding countryside and who
are a little bit more energetic, when you return from the mill take the first turning on your left and
climb up to the viewpoint. You won't regret it. Enjoy your visit.
Section 3

Jack: Lucy, we really need to get working on this marketing assignment. We've only got five
weeks left to the end of term to design it, carry it out, and then write up the results.

Lucy: Sure. Well, let's get started right now. Let's go over the instructions. What exactly do we
have to do?

Jack: Well, it says here we have to look at one area of the entertainment industry. There's a list
of the different types.

Lucy: What are they?

Jack: Music, cinema, theatre, sport, and eating out.

Lucy: Is that all?

Jack: Looks like it.

Lucy: So we choose one branch of the industry and then we look at how two different groups of
people use it? Is that right?

Jack: Yes.

Lucy: And do we have to use any particular method to get our data? Can we mail out a
questionnaire, or do face-to-face interviews, or maybe even observations.

Jack: Well actually, it looks like we don't have a choice. We have to do telephone interviews.

Lucy: OK, so at least we don't have to waste time deciding between the different methods.

Jack: Yeah, that's right. Oh, and the other requirement is the number of interviewees.

Lucy: Not too many, I hope. Ten? Twenty?

Jack: Well, we have to do two groups, remember, and it looks like we have to interview fifteen
for each group.

Lucy: That's thirty altogether then. It's going to take ages.

Jack: Yes, but remember we're working on this together, so we'll only have to do fifteen each.
Lucy: Ok, so those are all the requirements?

Jack: Yes, looks like it.

Lucy: So, first, which area are we going to choose? My preference would be cinema, since
that's where I spend most of my money.

Jack: Hmm, I don't think that's such a good idea. I don't think there are huge differences in the
market there. I mean you get young and old, male and female, rich and poor all going to the
same movie.

Lucy: Yeah, maybe you're right. Let's make it music then.

Jack: Right. So, what two groups will we compare and contrast?

Lucy: Male and female?

Jack: No. Most of my female friends like the same music as me. Different age groups would be
much more likely to show up differences, I think.

Lucy: Yeah, I suppose you're right again. I'll take some notes, shall I? So. . . Age Groups. Well.
What do you think? Maybe twenty-five or under for one group, and forty-five or over for the other
group? That should show up the differences.

Jack: Right.

Lucy: OK. Next. How 'about the kind of music they like — let's give them some choices and then
we can just tick boxes.

Jack: OK. Let's have pop, jazz, folk, easy listening . . . What else?

Lucy: Well, we should include classical. Some people like it, you know.

Jack: OK. OK. And then we should have how they listen to music.

Lucy: The medium. Right. Let's include radio, CD — and then I guess there's TV.

Jack: What about concerts'? You know, in pubs and halls.

Lucy: Oh yeah, we should include live music of course.

Jack: OK, we're on a roll now! Next point could be about where they actually get their music.

Lucy: You mean, like, do they buy it in music shops or department stores?
Jack: Yes, or download it from the internet.

Lucy: Right, that could be for recorded music, then we need another section for live music,
where do they go for that?

Jack: Okay, let’s say disco, pub, concert hall.

Lucy: Or an opera house. I guess we should include karaoke bars.

Jack: Not many of them in this city.

Lucy: Okay, we’ll leave that out then. So, what’s left to do?

Jack: That’s it, well… Now we can make a time scale for doing it.

Section 4

Good morning everyone. Last week, we were looking at the hunter-gatherers in Ireland, across
the Irish Sea from England. Today, we're going to move on to the period between four and six
thousand years ago, known as the Neolithic period, which is when a total farming economy was
introduced in Ireland.

Now, there are several hypotheses about the origins of the first Neolithic settlers in Ireland, but
most of these contain problems. For instance, there are considerable archaeological difficulties
about the theory that they came from England. The evidence doesn't really add up. But there
are even greater practical problems about the theory that they came directly from continental
Europe. For one thing, it's not clear just how sufficient numbers of men and women could have
been transported to Ireland to establish a viable population. As you know, the hunter-gatherer
economy which existed beforehand was based on small scattered groups. The farming
economy would almost certainly have required much larger communities to do all the work
needed to plant and tend sufficient crops to sustain them through the year.

The early farmers kept various animals, including cattle and sheep. There's also evidence of
pigs, but it is possible that these could have been descended from the native wild species. Now,
we know from modern farming that if the level of breeding stock falls below about three hundred
females, the future of the species locally is at risk. So we must assume that from the beginning
of Neolithic farming the number of breeding sheep would have considerably exceeded three
hundred, and the national cattle herd must have been of a similar size. The question is how
these were brought to the area and where they came from.

It's usually suggested that the Neolithic settlers used skin-covered boats to transport livestock
but this method would have severely restricted the range of the colonising fleets. The sheer
volume of animal transport necessary means it's unlikely that this livestock could have been
brought from anywhere further than England.

What about crops? Well, two main cereal crops were introduced to Ireland during this time:
wheat and barley, both in several varieties. The main evidence for their presence consists of
impressions on pottery where a cereal rain accidentally became embedded in the surface of the
pot before it was fired. The grain itself was destroyed by the firing, but it left an impression on
the pot which could be studied and identified by botanists.

Let's turn our attention now to the farming technology available at that time. Before the cereal
cereal crops could be planted, it would have been necessary to clear the ground by ploughing.
The stone blade of a plough has been discovered during excavation in County Mayo in western
Ireland. The body of the plough would have been of wood and could have been drawn by
people, but it's also likely that cattle were used. Now the cultivation of crops and the husbandry
of livestock brought about changes in people's lifestyle such as the type of shelters they made.
For one thing, instead of moving from place to place they needed permanent dwellings. The
stone axes used to chop down trees to make these dwellings were far superior to any that the
Stone age hunter-gatherers used.

To make the axes, sources of suitable stone had to be found and systematically exploited.
These so-called ‘axe factories' were really quarries rather than factories, as the manufacture of
the axes wasn't regularly performed on the quarry site. However, after the axe had been
chipped into shape, they needed water and sand for grinding and polishing, so a high
mountainside wouldn't have been an appropriate place for this. So this final stage of the
manufacture must have been carried out close to water and sure enough, there's ample
evidence of this at coastal sites.

Now it's clear that these Neolithic axes were transported all over Ireland, as well as to Scotland
and the south of England. It's not really surprising that axes from 'axe factories' in England have
also been found in Ireland. At the very least, this indicates that there was a link between the two
islands during that period. One of the most useful innovations of the colonisers was pottery
making, which was quite unknown to Irish hunter-gatherers. The pottery was probably made by
shaping clay into a ball with the hand, and then hollowing it until the walls were the right
thickness. After firing, the outside was often polished. This would have helped the pots to retain
water, as they weren't glazed. Now we know that the clay used usually came from local sources,
which suggests that manufacture was on a fairly small scale, even though thousands of
fragments are usually found at Neolithic sites. In the course of time decoration began to appear.
At first this looked like a series of stitches and was just around the tops of the pots. This could
have been an imitation of earlier vessels which were made of leather sewn onto wood.