Centre for Developmental W e are delighted to welcome you to the opening of the Centre for
Developmental Language Disorders & Cognitive Neuroscience, which is
Language Disorders part of the Department of Human Communication Science, University College
London.
& Cognitive Neuroscience
This new research centre brings together a multidisciplinary group of
scientists to investigate the development of fundamental human capacities -
particularly language and language disorders, such as Specific Language
Impairment - to elucidate the mechanis m of language acquisition and provide
insight into the development of specialised cognitive systems, furthering
understanding of the structure and function of the human mind and its neural
Opening instantiations. The Wellcome Trust provides the core funding for our research,
which is gratefully acknowledged. Our close relationship with the department of
HCS brings together our clinical and theoretical aims.
Reception We would like to acknowledge and thank the Department of Human
Communication Science and UCL for their support and help in establishing the
DLDCN centre. In particular, Jane Maxim’s (head of department) support,
encouragement and help to establish the centre was invaluable.
A special note of thanks is due to Panter Hudspith Architects, in particular
th
19 October 2002 Simon Hudspith (partner in charge) and Deniz White (project architect), who
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managed to create a design which we feel is both functionally a aesthetically
inspirational. Their attention to detail and to meeting our demanding functional
Department of Human Communication Science needs went far beyond our expectations but for which we are very grateful. We
trust that our research will match up to the standards they have set us!
University College London Our thanks are also expressed to HMP Construction Ltd and the sponsors
of the opening workshop and reception: The Wellcome Trust, Friends of UCL, Dept
of HCS, Trends in Cognitive Sciences, and the Faculty of Life Sciences.
Workshop sponsored by: We look forward to working and develo ping our research in the Centre.
The Wellcome Trust, Friends of UCL, Department of Human Heather K. J. van der Lely
Communication Science, Trends in Cognitive Sciences. Director
UCL Faculty of Life Sciences th
19 October, 2002
7.45 pm Opening Remarks Prof Robert Lieberman, Dean of
Faculty of Life Sciences, University College London T he words are merely a vehicle for emotional as well as vocal flexibility, range
and colour. The score is accompanied by a comprehensive glossary of signs
and symbols indicating ‘extended’ vocal techniques such as gasping, dental
8 pm Recital Nicol Tibbels tremolo, coughing, tongue trills and clicks, humming etc., and there are strict
instructions in the piece as to the quality of the sounds [e.g. focussed or breathy],
Sequenza III Luciano Berio
and the pitching of the notes. The emotional indications [e.g. anxious, calm, distant,
Djamila Boupacha: Esta Noche,
ecstatic, frantic, joyful, languorous etc.] and hand gestures are all precisely notated,
from Canti di vita e d'amore Luigi Nono
but some spontaneous gestures other than those marked are permitted according to
Stripsody Cathy Berberian
individual dramatic interpretation. The piece has no time signature, but is divided
Architects: Panter Hudspith Architects up into ten second ‘bars’. It should last 8 minutes forty seconds, but pacing can vary
Partner in charge: Simon Hudspith according to the occasion and my state of nerves!
Project Architect: Deniz White
Biography of Nicole Tibbels Djamila Boupacha - Esta Noche Luigi Nono
N icole Tibbels was awarded a scholarship to the Guildhall
School of Music and Drama, having first obtained an honours
degree in French at Sheffield University. She came to international
T his four-minute unaccompanied solo is the second movement of Canti di vita
e d’amore [Songs of life and love], a piece in three movements, composed in
1962 for tenor, soprano and orchestra. The Algerian woman of the title is a symbol
prominence when she made her debut at the Royal Opera House of political oppression, a subject which Nono constantly addressed, and her words,
Covent Garden as the Countess in Massenet's 'Chérubin' conducted by John Eliot by the Spanish poet Jesus Lopez Pacheco, a song of hope and freedom:
Gardiner. She was immediately re-engaged to sing the roles of L'Amour and La Take from my eyes the mist of ages; I want to see things as a child does. How sad to
Folie in Rameau's 'Platée' with the Mark Morris Dance Group and conducted by see that with the dawn everything is still the same. This night of blood, this endless
mire. A different day must come; the light must come. Believe what I say to you.
Nicholas McGegan. Also for the Royal Opera, she sang the role of Fido in Britten's
'Paul Bunyan' conducted by Richard Hickox, and most recently Clorinda in
Stripsody Cathy Berberian
Rossini’s ‘La Cenerentola’ with Mark Elder.
Programme Notes T he instruction on the first page of Stripsody [1966] reads: ‘The piece should
be performed as if by a radio sound man, without any props, who must
provide all the sound effects with his voice.’ The score itself reads like a strip
Sequenza III Luciano Berio cartoon, with illustrations to indicate the nature of the sound intended. It is an A-Z
B erio composed a Sequenza for each of the instruments in the orchestra during
the 1960s. No.3, for the female voice, was written in 1966, a time of much
vocal experimentation and innovation. The text is by Markus Kutter:
of noise effects, interspersed with unrelated ‘scenes’ throughout. The only
indication of timing is the spacing of the sound elements, so the length of the piece
can vary, generally between six and eight minutes.
give me a few words for a woman
to sing a truth allowing us
to b uild a house without worrying before night comes Programme notes by Nicole Tibbels. October 2002