READING PASSAGE 1 – IELTS Cam 9 Test 1

Children With Auditory Problems

A

Hearing impairment or other auditory function deficit in young children can have a major impact on their development of speech and communication, resulting in a detrimental effect on their ability to learn at school. This is likely to have major consequences for the individual and the population as a whole. The New Zealand Ministry of Health has found from research carried out over two decades that 6-10% of children in that country are affected by hearing loss.

B

A preliminary study in New Zealand has shown that classroom noise presents a major concern for teachers and pupils. Modern teaching practices, the organisation of desks in the classroom, poor classroom acoustics, and mechanical means of ventilation such as air-conditioning units all contribute to the number of children unable to comprehend the teacher’s voice. Education researchers Nelson and Soli have also suggested that recent trends in learning often involve collaborative interaction of multiple minds and tools as much as individual possession of information. This all amounts to heightened activity and noise levels, which have the potential to be particularly serious for children experiencing auditory function deficit. Noise in classrooms can only exacerbate their difficulty in comprehending and processing verbal communication with other children and instructions from the teacher.

C

Children with auditory function deficit are potentially failing to learn to their maximum potential because of noise levels generated in classrooms. The effects of noise on the ability of children to learn effectively in typical classroom environments are now the subject of increasing concern. The International Institute of Noise Control Engineering (I-INCE), on the advice of the World Health Organization, has established an international working party, which includes New Zealand, to evaluate noise and reverberation control for school rooms.

D

While the detrimental effects of noise in classroom situations are not limited to children experiencing disability, those with a disability that affects their processing of speech and verbal communication could be extremely vulnerable. The auditory function deficits in question include hearing impairment, autistic spectrum disorders (ASD) and attention deficit disorders (ADD/ADHD).

E

Autism is considered a neurological and genetic life-long disorder that causes discrepancies in the way information is processed. This disorder is characterised by interlinking problems with social imagination, social communication and social interaction. According to Janzen, this affects the ability to understand and relate in typical ways to people, understand events and objects in the environment, and understand or respond to sensory stimuli. Autism does not allow learning or thinking in the same ways as in children who are developing normally.

Autistic spectrum disorders often result in major difficulties in comprehending verbal information and speech processing. Those experiencing these disorders often find sounds such as crowd noise and the noise generated by machinery painful and distressing. This is difficult to scientifically quantify as such extra-sensory stimuli vary greatly from one autistic individual to another. But a child who finds any type of noise in their classroom or learning space intrusive is likely to be adversely affected in their ability to process information.

F

The attention deficit disorders are indicative of neurological and genetic disorders and are characterised by difficulties with sustaining attention, effort and persistence, organisation skills and disinhibition. Children experiencing these disorders find it difficult to screen out unimportant information, and focus on everything in the environment rather than attending to a single activity. Background noise in the classroom becomes a major distraction, which can affect their ability to concentrate.

G

Children experiencing an auditory function deficit can often find speech and communication very difficult to isolate and process when set against high levels of background noise.

These levels come from outside activities that penetrate the classroom structure, from teaching activities, and other noise generated inside, which can be exacerbated by room reverberation. Strategies are needed to obtain the optimum classroom construction and perhaps a change in classroom culture and methods of teaching. In particular, the effects of noisy classrooms and activities on those experiencing disabilities in the form of auditory function deficit need thorough investigation. It is probable that many undiagnosed children exist in the education system with ‘invisible‘ disabilities. Their needs are less likely to be met than those of children with known disabilities.

H

The New Zealand Government has developed a New Zealand Disability Strategy and has embarked on a wide-ranging consultation process. The strategy recognises that people experiencing disability face significant barriers in achieving a full quality of life in areas such as attitude, education, employment and access to services. Objective 3 of the New Zealand Disability Strategy is to ‘Provide the Best Education for Disabled People’ by improving education so that all children, youth learners and adult learners will have equal opportunities to learn and develop within their already existing local school. For a successful education, the learning environment is vitally significant, so any effort to improve this is likely to be of great benefit to all children, but especially to those with auditory function disabilities.

I

A number of countries are already in the process of formulating their own standards for the control and reduction of classroom noise. New Zealand will probably follow their example. The literature to date on noise in school rooms appears to focus on the effects on schoolchildren in general, their teachers and the hearing impaired. Only limited attention appears to have been given to those students experiencing the other disabilities involving auditory function deficit. It is imperative that the needs of these children are taken into account in the setting of appropriate international standards to be promulgated in future.

READING PASSAGE 3 – IELTS Cam 12 Test 3

You should spend about 20 minutes on Questions 27-40 which are based on Reading Passage 3 below.

Music and the emotions

Neuroscientist Jonah Lehrer considers the emotional power of music

Why does music make us feel? One the one hand, music is a purely abstract art form, devoid of language or explicit ideas. And yet, even though music says little, it still manages to touch us deeply. When listening to our favourite songs, our body betrays all the symptoms of emotional arousal. The pupils in our eyes dilate, our pulse and blood pressure rise, the electrical conductance of our skin is lowered, and the cerebellum, a brain region associated with bodily movement, becomes strangely active. Blood is even re-directed to the muscles in our legs. In other words, sound stirs us at our biological roots.

A recent paper in Nature Neuroscience by a research team in Montreal, Canada, marks an important step in revealing the precise underpinnings of the potent pleasurable stimulus’ that is music. Although the study involves plenty of fancy technology, including functional magnetic resonance imaging (fMRI) and ligand-based positron emission tomography (PET) scanning, the experiment itself was rather straightforward. After screening 217 individuals who responded to advertisements requesting people who experience ‘chills’ to instrumental music, the scientists narrowed down the subject pool to ten. They then asked the subjects to bring in their playlist of favourite songs – virtually every genre was represented, from techno to tango – and played them the music while their brain activity was monitored. Because the scientists were combining methodologies (PET and fMRI), they were able to obtain an impressively exact and detailed portrait of music in the brain. The first thing they discovered is that music triggers the production of dopamine – a chemical with a key role in setting people’s moods – by the neurons (nerve cells) in both the dorsal and ventral regions of the brain. As these two regions have long been linked with the experience of pleasure, this finding isn’t particularly surprising.

What is rather more significant is the finding that the dopamine neurons in the caudate – a region of the brain involved in learning stimulus-response associations, and in anticipating food and other ‘reward’ stimuli – were at their most active around 15 seconds before the participants’ favourite moments in the music. The researchers call this the ‘anticipatory phase’ and argue that the purpose of this activity is to help us predict the arrival of our favourite part. The question, of course, is what all these dopamine neurons are up to. Why are they so active in the period preceding the acoustic climax? After all, we typically associate surges of dopamine with pleasure, with the processing of actual rewards. And yet, this cluster of cells is most active when the ‘chills’ have yet to arrive, when the melodic pattern is still unresolved.

One way to answer the question is to look at the music and not the neurons. While music can often seem (at least to the outsider) like a labyrinth of intricate patterns, it turns out that the most important part of every song or symphony is when the patterns break down, when the sound becomes unpredictable. If the music is too obvious, it is annoyingly boring, like an alarm clock. Numerous studies, after all, have demonstrated that dopamine neurons quickly adapt to predictable rewards. If we know what’s going to happen next, then we don’t get excited. This is why composers often introduce a key note in the beginning of a song, spend most of the rest of the piece in the studious avoidance of the pattern, and then finally repeat it only at the end. The longer we are denied the pattern we expect, the greater the emotional release when the pattern returns, safe and sound.

To demonstrate this psychological principle, the musicologist Leonard Meyer, in his classic book Emotion and Meaning in Music (1956), analysed the 5th movement of Beethoven’s String Quartet in C-sharp minor, Op. 131. Meyer wanted to show how music is defined by its flirtation with – but not submission to – our expectations of order. Meyer dissected 50 measures (bars) of the masterpiece, showing how Beethoven begins with the clear statement of a rhythmic and harmonic pattern and then, in an ingenious tonal dance, carefully holds off repeating it. What Beethoven does instead is suggest variations of the pattern. He wants to preserve an element of uncertainty in his music, making our brains beg for the one chord he refuses to give us. Beethoven saves that chord for the end.

According to Meyer, it is the suspenseful tension of music, arising out of our unfulfilled expectations, that is the source of the music’s feeling. While earlier theories of music focused on the way a sound can refer to the real world of images and experiences – its ‘connotative’ meaning – Meyer argued that the emotions we find in music come from the unfolding events of the music itself. This ‘embodied meaning’ arises from the patterns the symphony invokes and then ignores. It is this uncertainty that triggers the surge of dopamine in the caudate, as we struggle to figure out what will happen next. We can predict some of the notes, but we can’t predict them all, and that is what keeps us listening, waiting expectantly for our reward, for the pattern to be completed.