TCF Canada Listening Practice — Level C2
4 TCF Canada Listening questions at level C2. Choose an answer to see whether you were right, why, and what makes each of the other options wrong.
- What you get at this level
- Dense, fast, abstract material
- What is tested
- Fine distinctions of meaning and tone
In the real test, C2 questions are worth 33 points each out of 699.
Listen, then choose
Écoutez le document sonore et la question. Choisissez la bonne réponse.
Choose an answer to see the explanation.
The correct answer is D because the audio explicitly states that the group performs in unexpected locations. The speaker mentions that the group takes over "lieux de la ville où on ne s'attendait pas à voir de la danse" (places in the city where one would not expect to see dance) and provides specific examples such as "Piscines vides, carrefours, parcs, gymnases" (Empty swimming pools, crossroads, parks, gymnasiums). These locations correspond directly to the description "sites insolites" (unusual sites) in the correct option.
Piscine vide, carrefour, parc, gymnase, les lieux ne sont pas attendus et cette danse-là encore moins.
Empty pools, crossroads, parks, gymnasiums, the places are unexpected and that dance even less so.
1. Identify the core subject: The text introduces the 'groupe Émile Dubois' created by a former Fine Arts student. 2. Analyze the description of the group's activities: The speaker describes a 'disorder that takes over places in the city where one did not expect to see dance' ('un désordre qui investit des lieux de la ville où on ne s'attendait pas à voir de la danse'). 3. Look for specific examples: The text lists 'Empty pools, crossroads, parks, gymnasiums' ('Piscines vides, carrefours, parcs, gymnases'). 4. Match with options: Option A focuses on romance (mentioned regarding the founder's motivation, not the show's style). Option B focuses on American set designers (not mentioned, though he studied in NY). Option C focuses on member origins (not mentioned). Option D mentions 'sites insolites' (unusual sites). This perfectly matches 'lieux... où on ne s'attendait pas' (places where one did not expect). 5. Conclusion: The defining peculiarity is the location of the performances.
- A
Its creations are very romantic.
The audio states that the founder started dancing "par amour pour une danseuse" (out of love for a dancer), which describes his personal motivation. However, it does not say that the group's creations themselves were romantic. In fact, the description of the group as "groupes, tribus, hordes, un désordre" (groups, tribes, hordes, a disorder) suggests a style that is not necessarily romantic.
- B
Its sets are created by American artists.
The audio mentions that the founder studied with "Meurs Cunningham à New York" (Merce Cunningham in New York), who is an American choreographer. However, this refers to the founder's training, not the creation of the group's sets. The text makes no mention of "décors" (sets) or American artists being involved in their creation.
- C
Its members are of varied origins.
The audio describes the dance group using the words "groupes, tribus, hordes" (groups, tribes, hordes). While these terms might suggest a large or wild collective, they do not explicitly state that the members were of "origines variées" (varied origins). This is an assumption not supported by the text, which focuses on the style and location of the performances, not the dancers' backgrounds.
- D
Its performances are held in unusual venues.
The correct answer is D because the audio explicitly states that the group performs in unexpected locations. The speaker mentions that the group takes over "lieux de la ville où on ne s'attendait pas à voir de la danse" (places in the city where one would not expect to see dance) and provides specific examples such as "Piscines vides, carrefours, parcs, gymnases" (Empty swimming pools, crossroads, parks, gymnasiums). These locations correspond directly to the description "sites insolites" (unusual sites) in the correct option.
Au milieu des années 70, à Grenoble, un étudiant des Beaux-Arts se convertit à la danse, par amour pour une danseuse qui deviendra sa muse et sa compagne. Après avoir suivi pendant deux ans les cours de Meurs Cunningham à New York, il crée, en 1979, le groupe Émile Dubois. groupes, tribus, hordes, un désordre qui investit des lieux de la ville où on ne s'attendait pas à voir de la danse. Piscines vides, carrefours, parcs, gymnases, les lieux ne sont pas attendus et cette danse là encore moins. Quelle est la particularité du groupe Émile Dubois ?
In the mid-1970s, in Grenoble, a fine arts student converted to dance, out of love for a dancer who would become his muse and companion. After following Merce Cunningham's classes in New York for two years, he created the Émile Dubois group in 1979. Groups, tribes, hordes, a disorder that took over places in the city where one wouldn't expect to see dance. Empty swimming pools, crossroads, parks, gymnasiums, the locations are unexpected, and this dance even less so. What is the particularity of the Émile Dubois group?
- insolite
- unusual
- investir
- to take over / to occupy
- attendu
- expected
- carrefours
- crossroads / intersections
Listen, then choose
Écoutez le document sonore et la question. Choisissez la bonne réponse.
Choose an answer to see the explanation.
The speaker argues for reforming the baccalauréat because its primary purpose has vanished. He defines this original purpose as a selection mechanism, stating it was created to be a tool "pour sélectionner" (to select) students capable of entering higher education. He then explicitly states that this function is no longer fulfilled, saying "il n'apporte plus aujourd'hui les garanties de sélection" (it no longer provides the guarantees of selection today). This directly supports the idea that "L’intérêt principal de sa mise en place a disparu" (The main reason for its implementation has disappeared).
En plus, il n'apporte plus aujourd'hui les garanties de sélection.
Moreover, today it no longer brings the guarantees of selection.
The speaker discusses the 'bac' (baccalauréat exam) and argues that it must be reformed. While he mentions that the exam is expensive ('coûte cher') and has disadvantages, his central argument for why it must evolve is about its purpose. He states that the fundamental point of the exam ('c'est ça le bac') is to select students capable of higher education ('sélectionner ceux...'). He explicitly says that today, it 'no longer brings the guarantees of selection' ('il n'apporte plus aujourd'hui les garanties de sélection'). Since the exam no longer fulfills its primary function of selection, option A is the correct summary.
- A
The main purpose of its establishment has disappeared.
The speaker argues for reforming the baccalauréat because its primary purpose has vanished. He defines this original purpose as a selection mechanism, stating it was created to be a tool "pour sélectionner" (to select) students capable of entering higher education. He then explicitly states that this function is no longer fulfilled, saying "il n'apporte plus aujourd'hui les garanties de sélection" (it no longer provides the guarantees of selection today). This directly supports the idea that "L’intérêt principal de sa mise en place a disparu" (The main reason for its implementation has disappeared).
- B
The ministry lacks the means to organize it.
The speaker states that the exam "coûte cher" (is expensive), but he never says that the ministry "manque de moyens pour l’organiser" (lacks the means to organize it). The high cost is mentioned as one of the "inconvénients" (disadvantages), not as a reason for the ministry's inability to fund the exam.
- C
The candidates' success rate is declining.
The audio transcript makes no mention of the exam's success rate. The speaker never claims that "Le taux de réussite des candidats est en baisse" (The candidates' success rate is declining). The problem identified is that the exam "n'apporte plus aujourd'hui les garanties de sélection" (no longer provides the guarantees of selection today), which is about its value, not the pass rate itself.
- D
The number of detected frauds is increasing.
The topic of cheating is never mentioned in the audio. There is no reference to "fraudes" (cheating) or any suggestion that the number of incidents is increasing. The speaker's argument for reform is based on the exam's cost and its loss of selective function, not on issues of academic dishonesty.
Est-ce qu'il est irréformable ce bac Carl Meus ? On y arrivera bien un jour à le réformer. C'est obligatoire, de toute façon, ce qu'on voit bien, c'est un examen qui coûte cher. Ça tout le monde le sait, qu'il y a beaucoup d'inconvénients. En plus, il n'apporte plus aujourd'hui les garanties de sélection. Parce qu'au fond, c'est ça le bac. S'il y a un examen, c'est bien pour sélectionner ceux qui l'ont, de ceux qui ne sont pas jugés capables par l'éducation nationale de sortir de ce système et d'aller vers l'enseignement supérieur. Donc à partir du moment où il n'y a plus cette garantie-là, il faut le faire évoluer. Pourquoi le baccalauréat devrait être réformé selon celui qui s'exprime?
Is the Carl Meus high school diploma irreformable? We will manage to reform it one day. It's necessary, in any case, what is clear is that it's an expensive exam. Everyone knows that, there are many drawbacks. Moreover, today it no longer provides selection guarantees. Because fundamentally, that's what the diploma is for. If there is an exam, it is precisely to select those who have it, from those who are not deemed capable by the national education system to leave this system and go on to higher education. So from the moment this guarantee no longer exists, it needs to evolve. Why should the baccalaureate be reformed, according to the person speaking?
- irréformable
- unreformable
- inconvénients
- disadvantages
- garanties de sélection
- guarantees of selection
- enseignement supérieur
- higher education
- au fond
- basically / at the bottom
Listen, then choose
Écoutez le document sonore et la question. Choisissez la bonne réponse.
Choose an answer to see the explanation.
The correct answer is A because Charles Brassard highlights the existence of two irreconcilable theories regarding the origin of language. He contrasts the theory that 'toutes les langues du monde viennent d'une seule langue' (all the languages of the world come from a single language) with the opposing view that 'la langue est née en divers endroits du globe' (language was born in various places on the globe). He concludes by stating his belief that it is impossible to resolve this debate, saying, 'je doute qu'on puisse un jour prouver, déterminer qui a tort ou qui a raison' (I doubt that we can one day prove, determine who is wrong or who is right), which confirms that a consensus seems impossible.
Et en l'état actuel des choses, je doute qu'on puisse un jour prouver, déterminer qui a tort ou qui a raison.
And in the current state of things, I doubt that we can one day prove, determine who is wrong or who is right.
The speaker discusses the search for original languages. He points out two main obstacles: the complete lack of traces from before 10,000 years ago and the existence of conflicting theories (single origin vs. multiple origins). His conclusion is found in the final sentence: 'je doute qu'on puisse un jour prouver, déterminer qui a tort ou qui a raison' (I doubt we can one day prove, determine who is wrong or who is right). This directly supports Option A, as it implies that settling the debate or reaching a consensus is impossible due to the lack of evidence.
- A
Consensus on this subject seems impossible.
The correct answer is A because Charles Brassard highlights the existence of two irreconcilable theories regarding the origin of language. He contrasts the theory that 'toutes les langues du monde viennent d'une seule langue' (all the languages of the world come from a single language) with the opposing view that 'la langue est née en divers endroits du globe' (language was born in various places on the globe). He concludes by stating his belief that it is impossible to resolve this debate, saying, 'je doute qu'on puisse un jour prouver, déterminer qui a tort ou qui a raison' (I doubt that we can one day prove, determine who is wrong or who is right), which confirms that a consensus seems impossible.
- B
The amount of data complicates the analysis.
This option claims the analysis is complicated by the amount of data, but the speaker states the exact opposite. He explains that the problem is a complete lack of evidence from the distant past, saying, "il n'y a plus de traces" (there are no more traces) and "on n'a plus de traces du tout de ce qui était parlé" (we have no traces at all of what was spoken).
- C
Existing studies need to be revised.
The speaker does not suggest that existing studies need to be revised. He presents two conflicting theories but concludes that the debate is likely impossible to resolve due to the lack of evidence. He expresses this definitive uncertainty by saying, "je doute qu'on puisse un jour prouver, déterminer qui a tort ou qui a raison" (I doubt we can ever prove, determine who is wrong or who is right), implying the issue is not with the studies themselves but with the unattainable proof.
- D
The advanced theses vary by country.
This option is not supported by the audio. While the speaker mentions one theory that language was born in "divers endroits du globe" (various places on the globe), this refers to the potential origins of language itself, not the national origins of the theories or the linguists who propose them. The speaker never links the different theses to different countries.
Sur le brassard, la recherche de langues originelles a longtemps occupé les synapses des linguistes. Est-ce une quête toujours pertinente aujourd'hui ? Non, ben oui et non, parce que, comme on l'a dit tout à l'heure, il n'y a plus de traces. À moins dix mille ans, à peu près, à peu de choses près, à la louche, on n'a plus de traces du tout de ce qui était parlé. Il y a des théories qui disent que toutes les langues du monde viennent d'une seule langue, et il y a autant de théories à côté qui disent que non, la langue est née en divers endroits du globe et qu'il n'y a pas une famille de langues, mais plusieurs. Et en l'état actuel des choses, je doute qu'on puisse un jour prouver, déterminer qui a tort ou qui a raison. Qu'explique Charles Brassard à propos de la langue originelle ?
Charles Brassard, the search for original languages has long occupied the minds of linguists. Is this quest still relevant today? Well, yes and no, because, as was said earlier, there are no more traces. Approximately, give or take, roughly, less than ten thousand years ago, there are no traces at all of what was spoken. There are theories that say all the world's languages come from a single language, and there are just as many theories that say no, language was born in various places around the globe and there is not one language family, but several. And in the current state of affairs, I doubt that we can ever prove, determine who is wrong or who is right. What does Charles Brassard explain about the original language?
- traces
- traces/evidence
- à la louche
- roughly / by a rough estimate
- prouver
- prove
- qui a tort
- who is wrong
- pertinente
- relevant
Listen, then choose
Écoutez le document sonore et la question. Choisissez la bonne réponse.
Choose an answer to see the explanation.
The correct answer is A because Renaud Capuçon emphasizes the deep connection and interaction that chamber music enables. He states that the pleasure of this music is to "parvenir à une symbiose" (to achieve a symbiosis) with the other musicians, rather than playing solo. He further describes the on-stage interaction as a "dialogue est absolument sans limite" (dialogue is absolutely limitless). This concept of a symbiotic, limitless dialogue directly corresponds to the idea of refining the listening skills between musicians.
A contrario, la musique de chambre permet d'aller au fond des choses.
It is precisely this pleasure of trying not to hog the limelight or play solo, but to achieve a symbiosis.
The speaker, Renaud Capuçon, explains that the joy of chamber music lies in achieving a "symbiosis" with other instruments, rather than playing alone or trying to stand out ("tirer la couverture à soi"). He describes the interaction on stage as a "dialogue" that is "absolutely without limit." This focus on mutual connection, dialogue, and symbiosis directly implies a high level of listening and coordination between musicians, which corresponds to Option A.
- A
To refine the listening between musicians.
The correct answer is A because Renaud Capuçon emphasizes the deep connection and interaction that chamber music enables. He states that the pleasure of this music is to "parvenir à une symbiose" (to achieve a symbiosis) with the other musicians, rather than playing solo. He further describes the on-stage interaction as a "dialogue est absolument sans limite" (dialogue is absolutely limitless). This concept of a symbiotic, limitless dialogue directly corresponds to the idea of refining the listening skills between musicians.
- B
To express the originality of an interpretation.
Renaud Capuçon explicitly states that the pleasure of chamber music is “non pas de tirer la couverture à soi ou de jouer solo” (not to hog the spotlight or play solo), but to achieve “une symbiose” (a symbiosis). This focus on collective harmony and dialogue directly contradicts the idea of expressing the originality of a single interpretation.
- C
To vary the concert repertoire.
The audio transcript makes no mention of varying the concert repertoire. The discussion centers on the depth of musical interaction and the quality of the performance, contrasting the deep connection in chamber music with the limited rehearsal time with orchestras. The subject is the way music is played, not the selection of pieces.
- D
To improve the violinist's technique.
While chamber music demands a high level of skill, as implied by “On ne peut pas tricher” (You can't cheat), Renaud Capuçon does not present it as a means to perfect one's technique. Instead, he highlights what it allows in terms of musical connection, describing it as a “dialogue est absolument sans limite” (dialogue is absolutely limitless). The focus is on the interactive and collaborative aspect, not on individual technical improvement.
Renaud Capuçon, ce que je me demande, c'est comment vous, en tant que violoniste, vous arrivez à vous accorder si bien avec les autres instruments ? C'est le grand bonheur de la musique de chant. C'est justement ce plaisir d'essayer, non pas de tirer la couverture à soi ou de jouer solo, mais de parvenir à une symbiose. Je trouve que cela remet vraiment l'étendue de l'air. Parfois, on joue peu avec un orchestre, ou bien on passe d'un orchestre à un autre. On travaille avec des orchestres que l'on voit très peu, puisqu'on répète une demi-heure et qu'on joue ensuite un concerto. A contrario, la musique de chambre permet d'aller au fond des choses. On ne peut pas tricher. Sur scène, le dialogue est absolument sans limite. Que permet la musique de chambre selon Renaud Capuçon ?
Renaud Capuçon, what I wonder is how you, as a violinist, manage to get along so well with other instruments? That's the great joy of chamber music. It's precisely this pleasure of trying, not to take all the credit or play solo, but to achieve a symbiosis. I think it really brings out the breadth of the music. Sometimes, we play little with an orchestra, or we move from one orchestra to another. We work with orchestras that we see very little, since we rehearse for half an hour and then play a concerto. On the contrary, chamber music allows us to get to the heart of things. You can't cheat. On stage, the dialogue is absolutely limitless. According to Renaud Capuçon, what does chamber music allow?
- s'accorder
- to tune in / to harmonize
- tirer la couverture à soi
- to hog the limelight
- symbiose
- symbiosis
- musique de chambre
- chamber music
- tricher
- to cheat