speech music festival

8 - 10 June 2024

Venue sponsor dalton school hong kong, application closed, event categories, nursery rhyme.

The piece performed must be memorised and recited in spoken format, without melody. No props are allowed.

Age 3 years

Ages 4 - 10 years, ages 5 - 12 years, reading aloud.

The piece performed must be read aloud from the text which should be held in the hand and referred to, not memorised. No props are allowed.

Ages 6 - 10 years

Public speaking.

Each speaker may speak for up to 3 minutes. An easel will be available if the speaker wishes to use a presentation board but this is not compulsory. Cue cards are allowed and optional.

Ages 8 - 12 years

Find your event, the event age is the age your child will be on 11 june 2024.

Please note that your child's event age and current age may not be the same

Please select your child's event age from the bar below TO access the performance pieces

The Bad Beginning

Mary Had a Little Lamb

The Wonderful Wizard of Oz

The Lion and the Unicorn

The Secret Garden

The Dragon in the Cellar

Henny Penny

The Sun and the Wind

Eletelephony

VENUE SPONSOR

Dalton school, 10 hoi fai rd, tai kok tsui, hong kong.

Competition schedule will be announced via email

(email sent from  [email protected] ) in April 2024.

Edmonton Music & Speech Arts Festival

116 years of Music & Speech Arts in the Edmonton Region

2025 Festival to be Held April 22 – May 5

The 117 th Annual  Edmonton Music & Speech Arts Festival   (formerly known as the Edmonton Kiwanis Music Festival)  creates over 2,500 opportunities for over 20,000 music students, actors, musicians, and music lovers to perform in front of an audience and receive professional adjudication. Performances are FREE to attend . Come out and see the stars of tomorrow, and help us celebrate over 100 years of Festival!

FESTIVAL DATES: April 22 – May 5, 2025

Registration Opens: December 15, 2024

Registration Deadline: February 3, 2025

Fee Payment Deadline: TBA

Please note: CHOIR WEEK is April 22-25, 2025 and BAND WEEK is April 28 – May 2, 2025

If you are wanting to Donate Securities , please go to our page on CanadaHelps

Provincials

Congratulations to those EMSAF participants who will be representing Edmonton at Provincials this year!

And here are how Edmonton’s representatives did at Provincials sorted by Class and sorted by Place .

Schedules for Duets, Trios, Choirs, Bands, Chamber Music, and other groups only get sent to the teacher. Students should contact their teachers to see when they perform if they are in a group.

Performances (FREE Admission)

Performances will be held at MacEwan University – Alberta College Campus (10050 MacDonald Drive NW) , McDougall United Church (10025 101 Street NW) , the Old Strathcona Performing Arts Centre (8426 Gateway Boulevard NW) , and Archbishop MacDonald Catholic High School (14219 109 Avenue NW) .

The Edmonton Music & Speech Arts Festival acknowledges that we are on Treaty 6 territory, and that we are beneficiaries of this Treaty of peace and friendship signed in 1876.

In that spirit, we extend our hands and hearts to the Indigenous nations of the Cree, Dene, Blackfoot, Saulteaux, Nakota Sioux, as well as the Métis who have made Edmonton their home long before the building of our city — and to all Indigenous people who continue to make this city their home. We acknowledge the many First Nations, Métis, and Inuit peoples whose footsteps have marked these lands for generations, including the many places that you are joining from. We are grateful for the traditional Knowledge Keepers and Elders who are still with us today and those who have gone before us. They have been great stewards of the land and incredible creators of art, music, life, and love. Our recognition of this land is an act of reconciliation and an expression of our gratitude to those whose territory we reside on, or are visiting.

• Film Events
• Post-1970 Art
• Book Events
• Development of the President
• John Kennedy, The Leader
• The Speech – The Politician’s Poetry
• Kennedy’s Legacy
• Selected Speeches
• Development of the Poet
• Robert Frost, The Teacher
• The Poet – Politician
• Frost’s Legacy
• Selected Poems
• Bibliography
• Reflecting on the Film
• Discussion Questions
• Submissions Guidelines
• Sample Topics & Lesson Plans
• Cuban Missile Crisis
• Cuban Missile Crisis September 1962
• Cuban Missile Crisis October 16, 1962
• Cuban Missile Crisis – October 24, 1962

JFK: The Last Speech Symphony

  adolphus hailstork, composer    neil bicknell , librettist, performances, jfk: the last speech premiere,   july 16 2023 by colorado music festival, boulder.

Peter Oundjian , conductor   J anice Chandler-Eteme , soprano    Kevin Deas , narrator

Colorado Music Festival Orchestra Celebrating: Conductor,  Narrator and Soprano

Colorado Music Festival Performing with Soprano and Narrator

Neil Bicknell, Librettist with Peter Oundjian, Conductor and Bestor Cram, Director of the Documentary Film JFK: The Last Speech

The Colorado Music Festival presents an annual six-week summer concert season at Chautauqua Auditorium in Boulder, Colorado. The Festival Orchestra is comprised of 42 principal players, exceptional national and international musicians. Under the baton of Music Director Peter Oundjian , this well-loved orchestra performs at the base of the iconic Flatiron Mountains every summer, creating a truly world-class experience. The musicians represent 44 orchestras from 23 states, 4 provinces, and 3 countries. 1

Dallas Symphony Orchestra Performance

  october 6, 7, 8  2023.

Peter Oundjian , conductor   J anice Chandler-Eteme , soprano    Quincy Roberts , narrator

Dallas Symphony’s Soprano Janice Chandler-Eteme

Dallas Symphony’s Quincy Roberts Narrating JFK Words

Dallas symphony Conductor Peter Oundjian Hails Libbretist

The National Symphony Orchestra Performance

October 26 & 28, 2023.

Kevin John Edusei , conductor    Katerina Burton , soprano    Phylicia Rashad , narrator

National Symphony Narrator Phylicia Rashad

National Symphony Soprano Katerina Burton

National Symphony Orchestra with Soprano, Conductor John Edusei, and Narrator

The National Symphony Orchestra Accepting the Audience’s Applause

The National Symphony Orchestra Performing JFK: The Last Speech

The Indianapolis Symphony Orchestra Performance

 october 27 & 28, 2023.

Alexan der Shelley , conductor    Janice Chandler-Eteme , soprano    Joshua A. Thomas , narrator

Indianapolis Symphony Soprano Janice Chandler-Eteme

Indianapolis Symphony’s Narrator Joshua A.Thompson

Indianapolis Symphony Orchestra Performing JFK: The Last Speech

Amherst Symphony Orchestra Performance

 november 11, 2023.

Mark Swanson conductor    Katerina Burton , soprano    Seven Students , narrators

The Yale Philharmonia Performance

 november 16, 2023.

Peter Oundjian , conductor    Jillian Tate , soprano    Finn Sagal , narrator

The Background Story

JFK invited Robert Frost to be the first poet ever to speak at a Presidential Inauguration and Frost was a frequent guest at the Kennedy White House.  A break in the relationship between Kennedy and Frost occurred when Frost misspoke upon returning from the USSR, where he met with Premier Khrushchev in September 1962.

Kennedy’s speech at Amherst represented a posthumous reconciliation with Frost, nine months after Frost died, and was called the “most majestic” of JFK’s career.  Twenty-seven days later, Kennedy was assassinated.

Setting for the Symphony Inspired by President Kennedy’s speech honoring the poet Robert Frost, delivered at Amherst College October 26, 1963, the work will include lines from JFK’s Amherst speech interspersed with lines from poems by Robert Frost – a libretto authored by a then Amherst senior, who heard the President speak on that idyllic fall day.

Adolphus Hailstork, Composer

In describing this piece, Dr. Hailstork writes:

“My plan is to set supporting music to John F. Kennedy’s words to be presented by a reader (male or female) and to set selections from the poetry of Robert Frost to be sung by either a soprano (pref.) or tenor.

“My writing will reflect the autumn season, the solemnity of the moment, and the unique oratorical gifts of Kennedy the president, and the profound literary gifts of Frost the poet.”

From the Libretto:

The President: Our national strength matters, but the spirit which informs and controls our strength matters just as much. This was the special significance of Robert Frost…He held a deep faith in the spirit of man.

The Poet: And God has taken a flower of gold And broken it, and used therefrom The mystic link to bind and hold Spirit to matter till death come.

Dr. Hailstork has written numerous works for orchestra, opera, chorus, solo voice, piano, organ, various chamber ensembles, and band. 2

Recent commissions include RISE FOR FREEDOM, an opera about the Underground Railroad, premiered in the fall of 2007 by the Cincinnati Opera Company, SET ME ON A ROCK (re: Hurricane Katrina), for chorus and orchestra, commissioned by the Houston Choral Society (2008), and the choral ballet, THE GIFT OF THE MAGI, for treble chorus and orchestra, (2009). In the fall of 2011, ZORA, WE’RE CALLING YOU, a work for speaker and orchestra was premiered by the Orlando Symphony. I SPEAK OF PEACE commissioned by the Bismarck Symphony (Beverly Everett, conductor) in honor of (and featuring the words of) President John F. Kennedy was premiered in November of 2013.

Hailstork’s newest works include THE WORLD CALLED (based on Rita Dove’s poem TESTIMONIAL), a work for soprano, chorus and orchestra commissioned by the Oratorio Society of Virginia (premiered in May 2018) and STILL HOLDING ON (February 2019) an orchestra work commissioned and premiered by the Los Angeles Philharmonic. He is currently working on his Fourth Symphony, and A KNEE ON A NECK (tribute to George Floyd) for chorus and orchestra.

Significant performances by major orchestras (Philadelphia, Chicago, and New York) have been led by leading conductors such as James de Priest, Paul Freeman, Daniel Barenboim, Kurt Masur, Lorin Maezel, Jo Ann Falletta and David Lockington. Thomas Wilkins conducted Hailstork’s AN AMERICAN PORT OF CALL with the Boston Symphony Orchestra.

Adolphus Hailstork received his doctorate in composition from Michigan State University.  He had previously studied at the Manhattan School of Music, at the American Institute at Fontainebleau and at Howard University. Hailstork is Professor of Music, Composer-in-Residence and Eminent Scholar at Old Dominion University in Norfolk.

Peter Oundjian, Conductor and Music Director

The Festival’s Music Director Peter Oundjian has a multi-faceted portfolio as a conductor, violinist, professor, and artistic advisor. He has been celebrated for his musicality, eye toward collaboration, innovative programming, and engaging personality.  Oundjian joined the Colorado Music Festival in 2018. 3

An outstanding violinist, Oundjian spent 14 years as the first violinist for the renowned Tokyo String Quartet before he turned his energy toward conducting.

Now carrying the title Conductor Emeritus for the Toronto Symphony, Oundjian’s fourteen-year tenure as Music Director served as a major creative force for the city of Toronto and was marked by a reimagining of the TSO’s programming, international stature, audience development, touring and a number of outstanding recordings, garnering a Grammy nomination in 2018 and a Juno award for Vaughan Williams’ Orchestral Works in 2019.

From 2012-2018, Oundjian served as Music Director of the  Royal Scottish National Orchestra during which time he implemented the kind of collaborative programming that has become a staple of his directorship.

In 2022/2023 season Oundjian will conduct the opening weekend of Atlanta Symphony, followed by return engagements with Baltimore, Indianapolis, Colorado and Toronto symphonies, as well as a visit to New World Symphony.

Oundjian has been a visiting professor at Yale University’s School of Music since 1981, and in 2013 was awarded the school’s Sanford Medal for Distinguished Service to Music. He regularly conducts the Yale, Juilliard, Curtis and New World symphony orchestras.

About the Libretto

On an idyllic New England fall day in 1963, President Kennedy spoke at Amherst College in Massachusetts to honor his friend, the poet Robert Frost, who for many years had taught at Amherst. It would be the President’s last major speech.

The libretto for “JFK: The Last Speech” celebrates these two men and the values they shared – a faith in the human spirit, a commitment to learning and reason, and an awareness of the fragility of our democracy.  Conceived as a musical conversation between the President and the Poet, the libretto alternates narrated lines from the President’s Amherst speech with lines from Frost’s poems. But the Poet’s words are sung, as if from an oracle on high, as Frost had died nine months prior to Kennedy’s commemoration.

The libretto opens with lines from Frost’s “October,” evocative of the autumn day, and includes an entreaty to make the day seem less brief, an innocent reminder of the President’s impending fate.

With his characteristic courage to speak the truth that inspired the nation, President Kennedy opens his speech reminding the students that they are privileged by virtue of the education they are receiving. Such privilege carries with it responsibility – a responsibility to serve the public interest, and to contribute not only their talents to the “Great Republic,” but as well, their sympathy, their understanding, and their compassion. Pledging his confidence in the students, Kennedy quotes from “A Road Not Taken,” and counsels them that a decision to serve the nation will make “all the difference.”

The President’s tribute to Frost is also an ode to the indispensable role the arts and artists play in ensuring the strength of our democracy.

Weaving the Poet’s words throughout his speech, Kennedy speaks of how Frost coupled poetry and power and of Frost’s belief that when power leads man toward arrogance, poetry reminds him of his limitations. Then he offers his own belief that “when power corrupts, poetry cleanses. For art establishes the basic human truths which must serve as the touchstone of our judgment.”

Acknowledging the solitude that can come with the artist’s search for truth and concern for justice, Kennedy uses Frost’s words to argue that a nation that disdains the mission of art has “nothing to look backward to with pride, and nothing to look forward to with hope.”

The President ends his tribute with his aspirations for America to match its military strength with its moral restraint and its wealth with its wisdom – for an America which commands respect throughout the world not only for its strength but for its civilization as well.  To achieve this vision, Kennedy realizes he has “miles to go” before he sleeps, a phrase from Frost that he often used on the campaign trail.

At Kennedy’s inauguration, Robert Frost honored the President with a poem written for the occasion. He predicted the new administration would usher in a golden age of poetry and power, “of which this noonday’s the beginning hour.”  At Amherst, Kennedy honors Frost as one whose contribution was not to our size but to our spirit, not to our self-esteem but to our self-comprehension.  “Our national strength matters,” he says, “but the spirit which informs and controls our strength matters just as much. This was the special significance of Robert Frost.”

The President’s speech at Amherst has been called the “most majestic” of his career. Kennedy exhibited both his sensitivity to the human spirit and his civic values as he spoke that day — when he spoke about the importance of the arts and artists in our democracy; and about the importance of those who question power, “especially when that questioning is disinterested.” He said we need the service of every man and woman, “to make it possible for Americans of all different races and creeds to live together in harmony, to make it possible for a world to exist in diversity and freedom. All this requires the best of all of us.”

– Neil Bicknell, 2022

“How we need to hear these words today: about privilege and responsibility, about power and necessary challenges [to power], about the arts as conscience. “

–  Scott Cantrell, Dallas Morning News , October 7, 2023

Neil Bicknell, Librettist

As librettist, Neil Bicknell comes to the task with a unique perspective. He grew up in Middlebury, Vermont where Robert Frost was a presence every summer while teaching at Middlebury’s Summer School of English.  He has walked, and walked again the same trails as Frost, been educated by the mountains, the secrets of the woods, the resilience of the people.  He first heard Frost recite his poems at age 15. Then Bicknell attended Amherst College during Frost’s final years there, again hearing Frost’s distinctive delivery. He was there to hear President Kennedy honor Frost in 1963.

Bicknell has dedicated the past decade to seeking to understand and address problems with our democracy. When he and his Amherst ’64 classmates considered how to address those problems during their 50th reunion, they looked back to the impact JFK’s speech of October 26, 1963 had on them — the importance of the arts, truth, public service, the power of an inspirational leader.  Feeling those messages and civic values needed to be heard by today’s generation, they created an award-winning documentary, companion book, website and now symphony to bring those messages forward.

Following Amherst and an MBA at Columbia, Bicknell served as an officer in the U.S. Navy during Vietnam then pursued a career in finance on Wall Street.

The Symphony As Celebration

“JFK: The Last Speech” celebrates the civic values and  inspiring leadership of President John F. Kennedy, and the spirit of the great American poet, Robert Frost.  The Symphony is a project of members of the Amherst Class of 1964 through their non-profit Reunion ’64, Inc.  They had the privilege of witnessing President Kennedy deliver his last major speech, October 26, 1963. The Symphony joins two earlier projects, a book and documentary that are both titled, “JFK: The Last Speech.”  (See The Book and The Film pages of this website.)

• Amherst graduates are invited to join in support of this project.
• Orchestras interested in performing the Symphony are invited to contact us.
• Co-commissioning opportunities are available.

Please contact: [email protected] for additional information.

Our Supporters

Robert benedetti, neil & judy bicknell, douglas bray & francine austin, deborah & constantine georgopoulos, james giles, stuart johnson, robert and dorothy knox, peter manuelian & carol hooven, roger & katherine mills, terry segal, vince simmon, stephen & elizabeth smith, richard & ruth  sparks, charles & katharine stover.

1 Information in this paragraph and the remainder of this section is from the website: coloradomusicfestival.org

2 Information in this paragraph and the remainder of this section is from the website: adolphushailstork.com.

3 Information in this paragraph and the remainder of this section is from the websites: peteroundjian.com and coloradomusicfestival.org Photo Credits:

The lead photo of the Colorado Music Festival Orchestra is used courtesy of the photographer, Geremy Kornreich.  The orchestra is pictured in the Chautauqua Auditorium.

Pictures of the performers at the Colorado Music Festival Premiere Performance are used courtesy of CMF and Geremy Kornreich.

The photo of Neil Bicknell, Peter Oundjian and Bestor Cram following the performance is used courtesy of Judy Bicknell.

The photos of the Dallas Symphony Orchestra Performance are used courtesy of the Orchestra and Sylvia Elzafon.

The photos of the National Symphony Orchestra Performance that directly face the stage are used courtesy of Scott Suchman. The photos of the NSO taken from the left side of the audience (that include views of the audience) are used courtesy of Judy Bicknell.

The photos of the Indianapolis Symphony Orchestra Performance are used courtesy of the Indianapolis Symphony Orchestra.

The picture of Robert Frost is from the Library of Congress.

The photo of President Kennedy, by the White House Press Office, is used courtesy of the John F. Kennedy Presidential Library and Museum.  Public Domain.

The photo of Dr. Hailstork is courtesy of the Colorado Music Festival and Geremy Kornreich.

The photo of Peter Oundjian is from his website, PeterOundjian.com.

The photo of Neil Bicknell is used courtesy of the photographer, Charlie Erdrich.

Welcome to St Austell Festival of Music & Speech

2024 festival 27th november to 7th december 2024.

We are an annual Festival to encourage the study, performance and appreciation of music and speech by affording amateur performers the opportunity of having their performances assessed by highly qualified Adjudicators, and above all, to enjoy performing.

Classes for School-Age

We aim for a fun inclusive Festival, celebrating the developing performance skills in both Music and Speech, in both classes for individuals and groups.

Classes for All Ages

Whether you are young, or young at heart, we have a class for you to take part in and perform. We have a range of competitive and non-competitive classes… and if you can’t find what you are looking for, we will always be willing to listen and add one in!

Founded in 1948, we offer the chance to perform in a supportive environment. .

Blackburn Festival

Speech, music and dance.

Dates for 2024

Saturday 23 March at Westholme School, Blackburn

Entries are now closed

Timetable available here

The Speech syllabus is downloadable here .

The Set Texts for Speech are downloadable here - they are designed so that each age group is on one page, hopefully reducing your printing costs.

Welcome to the Bedfordshire Festival of Music, Speech and Drama

Please ensure you have read our entry information and rules thoroughly before making your entry. these can be accessed here, we are keen to hear your views on our new syllabus. please complete our new questionnaire to help us inform future planning., notes and lines, celebrating a century of the bedfordshire festival..

To mark this special centenary year of the Bedfordshire Festival, a commemorative book has been commissioned, giving a unique insight into the events and performances that have shaped the Festival’s 100-year history.

Buy now: Notes and Lines 100 Years of the Bedfordshire Festival of Music Speech and Drama | PayPal

The Bedfordshire Festival of Music, Speech and Drama

The Bedfordshire Festival of Music, Speech and Drama was founded in 1921 and provides a showcase for the wealth of talent in the amateur performing arts in Bedfordshire and the surrounding area. The Festival offers a wide range of classes for all ages covering most musical genres including Classical, Musical Theatre, Jazz and Asian music, as well as many varied Speech and Drama classes including Verse Speaking, Acting, Mime and Improvisation. It features categories for school groups, Special School groups, orchestras, wind bands, junior and senior choirs and group creative performance.

Run by a Committee of volunteers and a part-time Secretary, the Festival is a charity. The organisers are extremely grateful to the Festival's supporters, its Individual and Corporate Friends, for their financial support, without which the Festival would not take place.

The Festival takes place at the Bedford Corn Exchange during the first week of March each year.

The next Festival will take place from 1st to 8th March 2025.

The Queens Award for Voluntary Service

On September 4th 2019, The Festival was awarded the Queens Award for Voluntary Service 2019, the highest accolade given to volunteer groups in the UK.

See articles from Bedford Today or Bedford Independent for more information

Social Media

• Manage Account
• Press and Journal ePaper
• Evening Express ePaper
• Newsletters

Revealed: Stage times for every DJ and musician at Cultivate festival in Aberdeen this weekend

Cultivate festival will feature more than 50 DJ's and musicians over three stages at Aberdeen Beach Links on Saturday and Sunday.

Cultivate festival organisers insist there is “something for everyone” in an event that boasts more than 50 acts across three stages.

The ambitious festival runs at Aberdeen Beach Links on Saturday, September 21 and Sunday September 22 and will be headlined by legends Chase & Status.

Backbone, Chase & Status’ collaboration with Stormzy, topped the singles’ chart this summer.

Chase & Status will close Saturday night at Cultivate with a headline performance at the Big Top Main Stage from 9pm t0 11pm.

Aberdeen music festival boasts big names

Cultivate boasts a stellar line-up with some of the biggest names in electronic, house and techno music.

Also performing at the custom build venue are Ben Hemsley, Kettama, PartiBoi69, Sim0ne, Effy, and Lovefoxy,

Founded by co-festival directors Scott Forrest and Rory Masson in 2018 Cultivate will be held in a full outdoor festival arena for the first time.

Scott said: “The last few Cultivate’s were at Innoflate and it was almost like a big club night as we were inside.

“There was also a lot of the same style of techno music being played at Innoflate.

“However with this one we feel it is the first real weekend musical festival as it is at a venue we have built from the ground up.

“The breadth of genres of music we have this year is so much greater.

“At any time you can go to any of three stages and there will be different styles of music playing.

“There is something for everyone this time.”

A platform for rising local talent

As well as three stages the new site at Aberdeen Links will have multiple bars, art installations, food trucks, a vintage market and fairground rides .

Cultivate boasts global stars but the festival also offers a valuable platform to homegrown talent.

Scott said: “We have 40 local DJ’s playing over the course of two days.

“It is really important to us to give them a platform.

“We have seen some big homegrown Scottish acts come through the ranks at Cultivate.

“Ewan McVicar is one, and he is absolutely massive now.

“There are other emerging talents as well such as Van Damn and Testpress who are Cultivate alumni and now kicking on with their careers.

“At every Cultivate there is almost always a couple of the local DJ’s who go on to do bigger things which is great to see.

“Supporting the local scene is big for us, giving them a platform in their careers to push on to stardom.”

Cultivate Festival Aberdeen: Saturday stage times

Big top main stage :.

Chase & Status (9pm – 11pm)

Effy (8pm-9pm)

Lovefoxy (7pm-8pm)

Ben Hemsley (5pm-7pm)

sim0ne (4pm-5pm)

Massie (3pm-4pm)

Josh Dorey (2pm – 3pm)

Container Stage:

Mark Blair (9:30pm – 11pm)

Dare (8pm – 9:30pm)

Jezza & Jod (7pm – 8pm)

Tais-Toi (5pm – 6pm)

Kintra (4pm – 5pm)

SWATT Team (3pm – 4pm),

milkgirl  (2pm – 3pm)

Disco Defender Stage :

Aimee Stewart (10pm – 11pm)

Tim Haux b2b Quants (9pm – 10pm)

Sammy Aberdein (8pm – 9pm)

Knees Up (7pm – 8pm)

Look Busy Collective (6pm – 7pm)

Calowae (5pm – 6pm)

Emily Gunn (4pm – 5pm)

Flak House (3pm  – 4pm)

RARE (2pm – 3pm)

Cultivate Festival Aberdeen: Sunday stage times

Big top main stage:.

KETTAMA (9pm – 11pm)

PartiBoy69 (7pm – 9pm)

Franck (5.30pm – 7pm)

Van Damn (3pm – 4pm)

Babyccino (2pm – 3pm)

Container Stage :

Kimmic (9.30pm – 11pm)

Circo (8pm – 9.30pm)

Parsa Nani (7pm – 8pm),

Ronnie Pacitti (6pm – 7pm)

All Night Passion b2b Oakley Carter (5pm – 6pm)

Archie Holmes (4pm – 5pm)

gau7t (3pm – 4pm)

McCart (2pm – 3pm)

Disco Defender Stage:

tedzx (10pm – 11pm)

Love Gunn (9pm – 10pm)

Room212 (8pm – 9pm)

Amnesia (7pm – 8pm)

baile/baile (6pm – 7pm)

KIKI (5pm – 6pm)

Radial Groove (4pm – 5pm)

Household (3pm -4pm)

2ndface (2pm – 3pm)

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Festival Dates 2025:     Speech and Drama: Sat / Sun 22 and 23 February 25    Music: Sat / Sun 8 and 9 March 25

Orchestras, Choirs and Barbershop Day: Saturday 15 March 25   MK Young Musician: Sun 16 March 25    Dance: 15-22nd  Feb and 1-2 March 25

Festival 2025 Information

Here you can download the festival syllabus plus all music and speech and drama programmes.

Coming Early 2025 once entries have been received....  Click these links to see 2024 info.

Talk to our experts

1800-120-456-456

Speech on Music

Speech on Music for Students in English

Music is quite vital in our daily life, it gives a background to different moods, different moments of life. Music helps the soul to rejuvenate, to find the purpose, this music somehow aligns with the soul and hence we feel so connected to the music. It brings joy and happiness to the life of a person. 

Beethoven, a dominant music figure, has rightly said music has the ability to change the world. Music helps us soothe both physically and mentally. Music is the best ailment, according to physicians.

Good Morning to one and all present here on such an auspicious occasion.

Today, June 21 we are celebrating World Music Day to upright the different forms of music and tunes which uplift our earbuds and soothe our soul. 

Just imagine, how would our life be without music? In my view, it would be a life without harmony, without a purified soul. Music is a pleasant flow of melody in the air, which changes with rhythm and with a systematic playing method. This is the skill or art which a musician qualifies in himself and this gives a soothing and cheerful musical performance for an audience.

Music is considered one of the greatest boons of God for all living creatures.  Music helps the sounds to get classified into a rhythm, which helps us to learn and practice music. Also, we can enjoy the harmony and the pleasant rhythm that is made by the musical sounds. The styles of music have changed in recent years drastically. To say there are six eras of musical history - Middle Ages, Renaissance, Classical, Baroque, Romantic music, and the current one in the twentieth century. Music is a common form of entertainment for everybody.

The dictionary meaning of music is a form of art of sound, that explains the ideas and emotions via the elements of rhythm, harmony, and melody. Music soothes our brain and nerves, it helps us to feel relaxed and also refreshed, this soothes our bodies and mind. It removes the anxiety and the stress level from our everyday life. Also, great physicians prescribe music dosage for our ears to heal better from the pain, music is excellent medicine. It is proven that women who are carrying children in their womb are given music therapy from the everyday rush and pain, this soothes their minds.  Music takes us into the world of melody which helps us in forgetting disturbing memories or thoughts.

Music revives the old memories. Music therapy is often considered a great way to solve bigger problems, stress-related issues, our emotions in our daily life. Music also helps the brain to function quickly and effectively and this allows calmness in our daily life schedule. Music helps doctors and psychologists treat their patients well. It helps to calm the patient’s state of brain and their behavior, it soothes the nerves and stabilizes the heartbeat of the patient. Music also helps those patients to recover from brain injuries. Music is a great way to activate our brain cells in different ways. This helps in healing the damaged areas which allows the people to regain their speech and their physical movement. Thus, music can take out people from stressful situations.

I want to end this speech by thanking God for such a gift, music. While if you have the skill to create music you surely have a gift to cherish forever. Also, I would love to thank those talented musicians, who with their beautiful melodies, supported my low times also helped me to celebrate in my good times.

2 Min Speech on Music

Once the famous Shakespeare said, “If music is the food of love, play on, give me excess of it; that surfeiting, the appetite may sicken, and so die.”

Good Morning Everyone present.

Today on this great occasion of World Music Day, I would love to enumerate the importance of music. Music is a quite pleasurable sound that is combined with melodies, and this helps to soothe the ear. A musician is such a person who knows music.

Music is of various styles. This is said that all sounds got the music. Starting from the sound of the waterfall, the sound of the ocean waves, or the simply flowing of the river have got harmony in themselves.

Music can heal a person emotionally and also mentally. Music serves as a form of meditation to quieten the mind. Music cures emotional disorders like anxiety, depression, and also lack of sleep called insomnia.

Music conveys many such emotions to the people. The power of music is inevitable. Without music, life would be very dull and boring, but with the music, even your bad times will sound perfect, as now you can align your emotions well, this, in turn, will help us to deal with bad times. 

For me, music uplifts the soul, energizes me. While I derail from the purpose music pulls me back on track. The word ‘music’ is as lovely as it serves. In the concluding part I would like to say, let the world heal with the melodies of music and let your life flow with the rhythmic cords of music.

10 Lines on Music

For any culture, music captures an essential part. 

Our country is known for its rich musical culture and diversity. 

India has different types of music, and here people have different music tastes.  

The northern part of India is famous for Hindustani music, while the southern part of India is famous for  Carnatic music.

Music can be of 2 types- Vocal music and instrumental music.

Gives us peace of mind. 

Music is played on every occasion. 

Music helps in the treatment of the patients.

To connect with the supreme being, the best way is through the help of music.

Without music, life would be lifeless.

FAQs on Speech on Music

1. How is World Music Day Celebrated?

World Music Day takes place on the 21st of June to honor all the musicians. Around 120 countries celebrate World Music Day by organizing free public concerts in various other public places. In 1982, there was a  music festival that took place in France called Fête de la Musique which later on was called World Music Day. This day honors budding and seasoned artists and allows them to showcase their accomplishments through their music. It also celebrates equality of opportunities in the world of music.

2. When was Renaissance Music Got Alive?

During the Renaissance time, Renaissance Music was written in European Countries. It saw the growth of new instruments, classical music as well as a burst of new ideas related to harmony, rhythm and music notation. During the 15th and 16th centuries, there was a rise in instrumental dances and the introduction of a wide range of classical music and different genres which also comprised masses, motets, madrigals, chansons, etc. By the 20th century, early musical ensembles came into form as Renaissance Music.

3. What are the Various Styles of Music in India?

Classical, Folk, Baul, Bhajan, Rabindra Sangeet are the different music styles in India. In India, there are two different forms of music. One is Carnatic Music which is associated with South India and the other is Hindustani Music which is played in North India. Carnatic Music is called Karnāṭaka saṃgīta and the lyrics of such songs are mainly devotional and dedicated to Hindu deities. The main features include raga and taal which are mandatory to be understood. Hindustani Music has four forms: Dhrupad, Khyal (or Khayal), Tarana, and the semi-classical Thumri.

4. What is the difference between Medieval and Renaissance music?

Unlike medieval music which comprised only vocals, Renaissance music included both instruments and vocals. The main instruments would be harps, flute, violin, etc. Medieval music was monophonic which in the later ages transformed into polyphonic. Renaissance music largely contained buoyant melodies. The Medieval period saw the beginning of music and by the time it reached the Renaissance era, the musical era was already developed to an extent with many music composers in existence like William Byrd and Giovanni Pierluigi da Palestrina.

5. Is Indian classical music difficult to learn?

Indian classical music sounds too complicated for easy listening. Although it is not difficult to learn, mastering the music forms, both Carnatic and Hindustani, is an uphill task. Unlike Western music which has fixed notes, a note played by two classical music instruments may not sound the same. There are no set compositions or fixed scales. Instead, there are ragas that form the musical framework. Rather than learning the melodies, Indian classical music focuses more on improvisation and there are multiple techniques involved for emoting certain emotions.

Moscow Music Peace Festival: How Glam Metal Helped End the Cold War

By Saul Austerlitz

Saul Austerlitz

In the Communist Seventies and Eighties, popular music was repressed in the Soviet Union, and the hunger for it – particularly Western rock & roll – led Russian fans to extreme measures. Black-market records, bootlegs etched into X-rays and even the opportunity to dub cassettes could easily cost fans a hefty chunk of their monthly salaries. And the opportunity to see Western performers in person? Practically nonexistent.

That is at least until the dawn of perestroika under Mikhail Gorbachev in the middle of the 1980s. Gorbachev’s policy of openness meant that, for the very first time Soviet fans could attend concerts by prominent American and British artists. Soon artists like Bonnie Tyler, Billy Joel and Elton John made the trip, but hard rock and heavy metal went underrepresented.

Organized by American rock manager Doc McGhee and Soviet musician Stas Namin (who was also the grandson of Anastas Mikoyan, U.S.S.R. head of state in the mid-Sixties) , the Moscow Music Peace Festival was the Soviet Union’s first unfiltered experience of the freedom and abandon of rock & roll. At the height of the glam metal era, bands like Bon Jovi , Mötley Crüe and Skid Row traveled behind the Iron Curtain with news of a different way of life – and a brand of pleasure and expression that had mostly been unavailable. The festival gave young Soviet fans a chance to see what life might be like for them – and gave those Americans, Brits and Germans playing a firsthand glimpse of the waning days of the Soviet Union.

Here is the story of the musical summit that helped end the Cold War, the weekend where thousands of Russians learned to rock from America’s big-haired ambassadors.

Doc McGhee, co-organizer, Moscow Music Peace Festival: We never had any permits or anything else to come do this. Between Stas and myself, we basically just did this. Gorbachev and his people never said, “Yes,” never said, “No.” Later on, it was told to me by people very close to him that that’s exactly what it was. He wanted it to happen, but he couldn’t condone it and he didn’t want to refuse it: “If you can do it, go do it.”

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Stas Namin, co-organizer, Moscow Music Peace Festival: It was a diplomatic game: “How to trick [the] Soviet authorities” and not to let them understand that it was going to be a real rock festival. That’s why I called it Moscow Music Peace Festival, without using the word “rock.”

Scotti Hill, guitarist, Skid Row: Is it the best idea to send a bunch of heavy-metal musicians to represent clean living? I don’t think so! But it was all for the team.

Jon Bon Jovi, lead singer, Bon Jovi [ from the pay-per-view special Moscow Music Peace Festival , directed by Wayne Isham ]: Thinking that Mr. Bush and Mr. Gorbachev are both going to be aware of who Ozzy is [is] going to be pretty historic in its own right.

Tommy Lee, drummer, M ötley Cr üe: Did [Doc] tell you that I knocked him on his ass?

“A Russian Woodstock”

Stas Namin: My father was a military pilot during World War II. He loved rock & roll, and on his tape recorder he had Bill Haley, Chuck Berry, Elvis Presley and others. At the age of 10, my parents sent me to military school, where I spent seven years. There I heard for the first time the Beatles and Rolling Stones, Jimi Hendrix and Led Zeppelin. I started to play guitar and at the age of 12, founded my first rock & roll band, the Magicians.

Doc McGhee: I was with Jon Bon Jovi and this guy who heads Kramer Guitars. They introduced me to this guy Stas Namin, and Stas Namin was the largest-selling artist of the Soviet Union for about 20 years.

Stas Namin: After being forbidden for 17 years, Soviet authorities let me out of the country [for the first time], when I was already 35. I was invited, with my rock band the Flowers, for a 45-day tour around United States. Then an idea came to my mind – to put together a rock festival in Moscow where rock bands from different countries, including Russia, will play together. I started to share this idea with my new friends I met during the U.S. tour. … One of my first rock & roll impressions was the Woodstock Festival in ’69, and I was dreaming to put together [a] Russian Woodstock sometime.

Doc McGhee: Stas was trying to get strings, guitars [and] musical instruments for his artists, and for kids in general to have in Russia, which was forbidden at the time. And Stas says, “I have this theater. Why don’t we do a concert?”

Joe Cheshire, Doc McGhee’s attorney: The idea for the festival rose out of the Make-a-Difference Foundation, which I had been a part of creating, and served on the board in an advisory capacity. … Doc had been, as the record would reflect, and has reflected, had been charged with marijuana conspiracy charges in several jurisdictions. As his lawyer, of course, I was interested in trying to figure out a way that I could keep him from the serious punishment that was available to the federal courts for the charges that he had been indicted for in several federal jurisdictions. We had to suggest to the federal courts that it would be much more profitable for society that this nonprofit foundation exist and raise money and spend money for appropriate purposes than it would be to take one human being and put him in prison. So that’s what we did.

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Doc McGhee: I heard this back then, and I heard it for years afterwards: “I can’t believe all you have to do is a rock show and you get off.” Well, number one, I’m not sure that any court, no matter what you did, would put your probation [as], “If you go and change the world, stop the Cold War, you get off.” OK? I don’t think anybody should make that shit up. It had nothing to do with it whatsoever. It just happened to be the timing aspect. I was already way over all that shit before I did Moscow.

Ernie Hudson, guitar tech, Cinderella: Doc’s a very nice guy. Always straightforward, pretty much, except for one instance over there, which I’m sure you heard about.

Joe Cheshire: Our argument was my client was in a position to use his bands that he managed to make a positive impact on society. And in this particular unique period of time where rock & roll music was really, because of cable television, having an immense impact on young people, that at this unique period of time, with the unique client I had, and his ability and willingness to do that, it was an opportunity to help and also, of course, to ask the court not to incarcerate my client.

Bruce Kolbrenner, accountant, Moscow Music Peace Festival: Putting that festival together was a superhuman feat. I think the only person who could have done something like that was Doc McGhee.

Joe Cheshire: We came up with an idea to create a nonprofit foundation that would raise money for antidrug programs and Doc would ask the bands that he was managing to assist him in doing that. And there were other groups like the Teenage [Mutant] Ninja Turtles and various and sundry other entertainment acts. And there were people who were creating documentaries. There was a lot more work that the Make-a-Difference Foundation did than simply the Moscow Music Peace Festival, but that was kind of the ultimate work that came out of it.

Doc McGhee: I went 46 times to the Soviet Union. … When I went over there, we saw kids that were being treated like how they used to treat alcoholism in the United States in the Forties and Thirties. They treated it like a mental illness. They would use electroshock therapy.

Stas Namin: Mostly [McGhee] was in charge of the Western side, and I did everything on the Russian side.

Doc McGhee: The first one that was on board was Bon Jovi, from day one. Jonny [Bon Jovi] was the biggest artist in the world at the time, the rock world. Or one of them. He definitely wanted to do it. So did Mötley and Scorps and Skids. I talked to Sharon Osbourne, and Ozzy was down with it because he loves to do that stuff. It was just one of those moments. Probably couldn’t do it again.

Curt Marvis, producer, pay-per-view special: This was the heyday of metal. This was when metal dominated MTV. This was when metal ruled the sales chart. So you’re talking about a lot of artists, most of whom were headliners of stadium tours, let alone arena tours, in their own right.

Rachel Bolan, bassist, Skid Row: Everything was happening really fast for us. It was ’89, our first album came out in January, and here we are at the beginning of August in Communist Russia. And we’re like 25 years old.

Tom Keifer, lead singer, Cinderella: The actual thought of getting onto a plane and going to Russia? I don’t think any of us knew what to anticipate.

Doc McGhee: Everybody was very enthusiastic. Why wouldn’t you: If you get to go play Lenin Stadium, the biggest show ever in the history of the Soviet Union, and be broadcast in 59 countries? Live, and live on Soviet television for the first time in the history of the world.

Ozzy Osbourne : It was just another gig to me.

“The Magic Bus”

McGhee christened the chartered Boeing 757 he hired “The Magic Bus,” and planned to fly all the festival’s acts over together, with a stop in London to pick up Ozzy Osbourne and the Scorpions .

Rob Affuso, drummer, Skid Row: We were told no alcohol, no drugs on the plane, and of course, as soon as the plane took off the ground, everybody’s opening bottles. So it was just a big party all the way to Russia.

Scotti Hill: Pretty much everybody was drinking. Although [the concert] was “rock against alcohol and drugs,” there was plenty of alcohol and drugs!

Tommy Lee: It was always a little dangerous there because [Mötley Crüe] were trying so desperately to be sober, so we didn’t really hang out a whole lot with the other guys.

Heather Locklear , actress: I thought [an antidrug show] was an oxymoron.

Ozzy Osbourne : My wife, an L.A. Times journalist and I were the only sober ones on the flight.

Tommy Lee: Everyone but us was fuckin’ wasted. Sebastian Bach was wasted. Geezer Butler from Black Sabbath was wasted.

Klaus Meine, lead singer, Scorpions: I remember Ozzy going into the toilet and when he came out, it looked like he pissed on himself.

Rachel Bolan: You walk down an aisle, hang out, there’d be Nikki Sixx, and then there’d be someone that you knew better, like Tom Keifer and the Cinderella guys. It was cool and surreal at the same time.

Heather Locklear, actress and wife of Tommy Lee at the time: [Skid Row singer Sebastian Bach] is on 11. Kind of like Tommy is. Very hyper, all the time: “Dude! Hey!” So much that you’re like, “OK, sit down. Go sit down in your seat, take a seat, and try to sleep.”

Tom Keifer: Jon [Bon Jovi] and [Bon Jovi guitarist] Richie Sambora and I, we had some guitars out and we were strumming along and singing some songs and just kinda having a little bit of a jam.

Heather Locklear: I think that’s the first time I met Richie Sambora, and I had a big eye for him. Like, “Wow – that’s good. He’s delicious.” But I was with Tommy. So I kept it intact. [I spoke to him for] just a couple minutes on the plane. And I’m like, “Does he know who I am? Does he even remember talking to me?”

“Four Sprinklers in Every Room”

Doc McGhee: We were just flying in to Moscow on a private jet. I had already said, “OK, we’re probably going to get arrested when we land here.”

Rob Affuso: So we landed there and I look out the window and it’s just dawn. There’s all these black limousines as far as the eye could see. Because I think there were two hundred of us coming off the plane.

Jeff LaBar, guitarist, Cinderella: If anything had happened, as far as people being arrested, it would have been an international incident. So they kind of went through the motions [at customs] and then said, ‘OK, let’s go.’

Rob Affuso: We all got into our respective cars and we had this military escort through the streets of Russia until we got to the hotel. From that point on, any time we left the hotel, we were being followed. It was just your typical Russian spy movie. We had this black KGB car following us everywhere we went.

Joe Cheshire: I remember riding in from the airport. It started raining. I noticed that almost all the cars pulled over to the side of the road. And all the drivers jumped out and ran around to their trunks and the trunk would open, and the people would run back around and they’d get in the car. The reason for that was they didn’t have any rubber in the Soviet Union, so when you got a car, and a windshield wiper, you would chop it up into, like, eight pieces, and then you’d attach a tiny little piece where your eyes were when it rained, so you could see.

Tommy Lee: I remember seeing taxi drivers taking their windshield wipers off and putting them in the car and locking them up. I asked a guy, “Why are you doing that?” He was like, “Oh my God, Tommy, it takes four to five years to get windshield wipers.”

Jeff LaBar, guitarist, Cinderella: The hotel was a spectacular old building. Lots of marble and crystal, so it was real fancy-looking until you got to your room. They didn’t have things that I took for granted, like a king-size bed. I had a huge, suite-size room, but hardly anything in it. Hardly any furniture. And the bed, it was smaller than a twin. It was like you went to summer camp.

Rachel Bolan: It was called Hotel Ukraine back then. It’s a Radisson now, I believe.

David Bryan, keyboardist, Bon Jovi: I open up a door by accident. It looked like a closet, and there was a whole room of people eavesdropping, with all kinds of headphones on and equipment.

John Kalodner, A&R representative: You could see all the monitoring equipment, the listening equipment.

David Bryan: Every time we tried to do a deal, or Doc was talking about merchandising, everybody knew. We looked up at the ceiling and there were four sprinklers in every room.

Tom Keifer: There was a woman at a desk in the central area [on each floor], and you had to go to her. She didn’t speak great English, but you’d tell her, ‘I want to make a phone call,’ and you’d give her the number. The way it worked was the phone would ring in your room, anytime from that moment to maybe 12 hours later.

Tommy Lee: The hotel we stayed in was like the fucking Shining . I remember dark hallways and Olga the housekeeper banging on your door to get in to clean your room.

Heather Locklear: They were very strict, and I felt that you couldn’t get out of line.

Scotti Hill: Toilet paper was a hot commodity.

Rachel Bolan: I remember there being no shower curtain, and a wooden pallet on the bathroom floor. Turning on the lights when you got to the room, and a few friendly cockroaches scattering.

Scotti Hill: For a guy in his early twenties who lived off of pizza and hamburgers, [the hotel food] was very mysterious, gelatinous seafood mixtures.

Peter Max, artist, designer of the Peace Festival stage and logo: We don’t go down and look at what we didn’t want to eat for breakfast. You know, boiled eggs and mystery meat and tea.

Tommy Lee: You would not believe what was on the fucking room-service menu. I think it was pickled sturgeon.

Jeff LaBar: I don’t know what Russian cuisine is. I’m not sure that was it. I think I only tried that once. I was like, ‘Yeah, I’m over that.’

Rachel Bolan: Before we left, they said bring stuff like toilet paper, bring stuff like women’s stockings. We were like, “Are we being punked?” They were like, “Well, the maids are probably going to help themselves to your stuff. Leave this stuff out and they’ll take it, and it’ll be cool.” And that’s exactly what happened. … I’m just really glad they didn’t check our bags, because why is this dude bringing so many pairs of stockings in his bag?

John Kalodner: I gave all of my clothes away to the kids and the staff at the hotel. All my jeans, all my jean jackets, all my shirts. I left with nothing.

Heather Locklear: We were told we were staying at a five-star hotel. I slept in my clothes instead of in my pajamas or naked because it didn’t feel five-star-ish to me.

“On the Moon With Very Old Shit”

Doc McGhee: We didn’t pay anything for the stadium. All our costs were in fixing things up.

Bruce Kolbrenner: We had to bring in our own water, from territory outside Russia, and we had to bring in our own food from outside of Russia. Everything that we had to do we had to bring in ourselves. All the broadcast equipment had to be brought in from other countries.

Curt Marvis: Our Dutch lighting guy brought over these little pills from the Netherlands with him called Adrenalina. I have no idea to this day what exactly Adrenalina was, but I know that it helped you work 24/7 for a week straight. It also has a result of making you go completely crazy.

Peter Max: Hard Rock brought the food over land, through Finland, on trucks.

Curt Marvis: It was like filming in a third-world country.

Doc McGhee: We had to bring ice. We couldn’t even get ice in the Soviet Union. We brought in ice from Sweden. We brought in stuff from all over the world: 64 tractor-trailers.

John Kalodner: They didn’t have Western food for the first day, so everybody ate cauliflower and ice cream.

Doc McGhee: You’re on the moon with very old shit, and you’ve got to make it work. It doesn’t matter what you’re talking about, from silverware to cups to water to transportation back and forth.

Curt Marvis: Just communication, getting problems solved, everything was more difficult. Getting messages to people back at hotels. So you end up with a lot of delays in communication, and people showing up to their set rehearsal and then find out that they’re at least two hours or three hours behind schedule, and they have to sit around, and they get pissed off, or start drinking. It was a high, high, high-stress environment for sure.

Ozzy Osbourne: We all congregated backstage and had brought Western food with us. There was a catering area supplying meals to all of the artists. Everyone hung out there.

Xenia Kuleshova, Soviet translator for Ozzy Osbourne and his band: Another thing that amazed me more than the show was the dining room for the organizers and the musicians. To know what I mean, you had to have grown up in the USSR, where there wasn’t any choice as to what you ate. There was always food, but it was all the same stuff all the time. There was nothing to make a shopper happy, nothing to attract them. I couldn’t go to restaurants – not because of the cost, but because only special people who were “allowed” to go could go.

And during the show, us, the Russian staff, saw a whole new world. It was like a celebration, there was so much to choose from! Everything, including the food, the dining hall itself, small stuff, like the trays, the utensils, everything amazed me – the form, the smells, the color, the lack of lines, the lack of feeling that you had to grab what you could because it would run out.

David Bryan: [There were] two security guys that were watching us, or we were watching them. One karate guy and one judo guy. We sat down to get some food, and they had enough on their plate for 20 dinners. I was like, “Don’t worry. It’s not going away.” They were like, “We’ve never seen this much food in one area.”

Yosef Sachs, translator: When I took my tray, I put some stuff on it, and I was looking for a place to sit down. There was a table, and there was a guy sitting at the table, and nobody in front of him. I sat down and I realized it was Ozzy Osbourne sitting right in front of me. We had a nice chat. I hid my chicken from him.

Joe Cheshire: We had brought truckloads of what I consider the best T-shirt ever, in the history of rock & roll, over to Lenin Stadium to sell. I was in bed in the Gothic-cathedral old-Stalinist hotel, and got a telephone call. Doc was panicked. We went over to Lenin Stadium, and the army general in charge of security told us that we couldn’t unload and sell our T-shirts because our T-shirts had the American eagle standing on top of the hammer-and-sickle. What that was was basically an extortion [attempt] for him to get T-shirts to sell himself, but that was the kind of thing we had to deal with.

Curt Marvis: I will never forget the Russian satellite truck. The truck looked like a 1960s-era milk delivery truck. With a little silver satellite on top of it. We all looked at it and said, ‘That’s what we’re relying on to get the signal, to beam our satellite all over the world?”

Joe Cheshire: The Russians decided they wanted to charge more money for the rent for Lenin Stadium. Now of course we’d already brought everything over there. Everybody was there. The bands were there. So we had this big meeting at which Doc McGhee just blew up at the Russians. My mother is Russian, so I was sitting in this meeting, and this big ol’ Russian guy is sitting next to me in a coat and tie, and he leans over to me and says [ in Russian accent ], “So I understand that your mother was Russian, and that her family lived in Vladivostok, and fought the revolution and escaped to America.” And I’m going, “Oh. My. God. I might never get home.”

Stas Namin: We also did a motorcycle show. At that time, we had almost-illegal motorcycle groups. I asked them to come to the Hotel Ukraine.

Rudolf Schenker, guitarist, Scorpions: I remember we had a party going on, and then somebody came up in the room: “Hey guys, come on! We have to see this! You have to come downstairs!” There was a whole motor club, the Russian Hells Angels, but with very, very old, and very, very ugly bikes, but the look was good.

Joe Cheshire: The Hells Angels showed up at two o’clock in the morning, riding their motorcycles up the stairs of this great big huge hotel and into the lobby.

Scotti Hill: It was mostly bikers lighting little bonfires and doing doughnuts and wheelies. Just a big party going on out there.

Rob Affuso: I can tell you, one, that the vodka in Russia is exponentially stronger than the vodka in America.

Scotti Hill: We didn’t want the hammer to fall on [McGhee]. Being our manager and our friend, everybody kept everything pretty hush-hush. We weren’t running around in front of cameras pounding beers and vodka. It was kept pretty private.

Tommy Lee: I think all of us jumped on a boat at some point, and went down some river. I wouldn’t even be able to tell you the name of it.

Klaus Meine: One night, which later, looking back, was, I think, the inspiration to write a song like “Wind of Change,” we went on a boat on the Moskva down to Gorky Park, where they had a barbecue. I think it was the night before the first show. Stas Namin was running a so-called Hard Rock Café. There were some banners in the trees in this place they picked in the park, and they put speakers in there with music from all the bands. The entire world, musicians from America, England, Russia, Germany, all joining together in this boat with Red Army soldiers, MTV, media people and everybody speaks the same language: music.

“They’re Still Waiting for Their Pizzas, You Know?”

Rob Affuso: Russia was this sort of make-believe place that we all heard about.

Rachel Bolan: If we strayed from the hotel too far, there was always militia or KGB keeping an eye on us. It was kind of cool in a way. Being from Toms River, New Jersey, then being in Moscow, with people keeping an eye on you, like you’re actually going to do something bad, it was kinda comical.

Scotti Hill: I remember it being gray. Where you would walk through New York on a rainy day and see neon signs and lots of colors, this was just gray. Everything was gray. Storefronts, gray. No signs, just people moping about. People standing on bread lines and things like that.

Rob Affuso: You go to the mall at Red Square, and the shirt store consisted of a table with about six shirts, all exactly the same kind. Collared shirts, button-down. One was blue; one was black; one was brown; one was gray; one was white; one was a shit-yellow color. That was your shirt store.

Vince Neil, lead singer, M ötley Cr üe [ from pay-per-view special ]: There’s a record store in [the mall], which pretty much sucks, but oh well.

Mary Gormley: Going to a local music shop, you had to bring your own cassette. And they had handwritten lists of what music they had there. And you would pay them to dub tapes for you. But you had to bring your own cassettes.

Alex Bank, Soviet music fan: Salary is 150 [rubles] per month, probably to make tape like this, maybe 15? Ten percent of your monthly salary. And believe me, the quality was shitty.

Xenia Kuleshova: I didn’t own a tape player, and you couldn’t buy rock records in stores. It was considered bourgeois and they wouldn’t even allow that type of music at school dances. The only records I had were the ones I was able to buy after standing in huge lines. It was mostly Italian pop singers. But I [had] heard of Jon Bon Jovi and the Scorpions.

Yosef Sachs: Everybody listened to the radio.

Ernie Hudson: We see people standing in line, we’d say, “What are people standing in line for?” They’d say, “Oh, this is a line to get toilet paper.” Two blocks down, a mile, “What are these people standing in line for?” “Oh, they’re standing in line to get milk.” It was just really backwards, compared to anything we were used to, going to the grocery store and getting toilet paper and milk.

Ozzy Osbourne [ from pay-per-view special ]: They don’t have McDonald’s here. They don’t have pizza delivery. That’s a luxury. We always complain: “The guy said he would be here in 25 minutes, now it’s 35, he hasn’t arrived yet.” They’re still waiting for their pizzas, you know?

John Kalodner: When I grew up, I remember Khrushchev saying that the Soviet Union was going to bury us. Then, when I actually was there, I thought to myself, “What are they going to bury us in? Garbage?”

Scotti Hill: The media was everywhere. It wasn’t just the rock media. It was the mainstream media that was there. CNN was covering it, major networks were covering it. They were doing live broadcasts on all the morning shows.

Rachel Bolan: We were doing a piece with MTV, and we were just walking around. There were no storefronts, or anything like that. And everything was so dirty and gray. We walked down this alleyway to this courtyard. And there was a really long line that went up to this window, and we couldn’t figure out what it was. Somebody with MTV’s crew managed to speak to someone that spoke a little bit of English, and they said it was a line for alcohol and drugs. And we were like, “Whoa, maybe this isn’t the best place to be hanging out.”

David Bryan: You figure all the girls would have a mustache and a babushka, and you were like, “Wow, they’re tall and gorgeous! If this is the enemy, I think they’re pretty good-lookin!'”

Ernie Hudson: Me and [Cinderella crew member] J. Harmon ventured out a couple nights, away from everybody else, no security, no nothing, which we probably shouldn’t have done, but we did and got away with it. We hooked up with a couple of girls that were going to take us to a metal bar. And we get to this door that slides a little peephole open. They start to open the door, and the girls grab us, saying, “Come on, run right now!” We took off around the corner, like, “What the hell just happened?” “The KGB just walked around the corner, and if you guys would have been caught here, you’d probably never be seen again.”

Rachel Bolan: A few kids came up and said, “Do you have concert T-shirts?” I go, “Not on me, but I have some in the room, if you want to meet me out front.” I said. “We’re going back there, probably in about an hour.” So they met me out front, and they had their car parked in between the buses, and they flashed their headlights. It was so clandestine, it was funny.

I went out to the car. I had a few T-shirts, and I wanted to trade for a military hat, because I collected hats back then. He gave it to me. I stuck it under my jacket. A car pulled up behind us, and all their faces went white. They spoke a little English, so I go, “Are we in trouble?” And he goes, “Very.”

The militia pulled up behind us and opened the door, and started pointing at us and talking to the kids, and just taking the T-shirts off of my shoulder and putting them over their own shoulders. And I had this hat, and evidently it was highly illegal to take any military memorabilia out of the country. Then they point at me to get in the car. All I saw and heard in my head was [Doc McGhee saying], “Anyone gets arrested in Russia, you’re staying here.” … [One] kid starts getting in a shouting match with the two guys. And then all three kids start shouting at the guys. I took that as my opportunity to haul ass.

Ernie Hudson: Another night, we were riding with another girl, trying to get vodka, and it was like trying to make a drug deal. Very scary and sketchy. The taxi we’re in pulls behind another taxi, that guy gets out, goes to his trunk, looking around, runs over and hands us a bottle of vodka for a pack of Marlboro cigarettes. You could get anything for a pack of Marlboro cigarettes.

“We Don’t Have Rock & Roll in Our Country”

Only hours before the show, Ozzy Osbourne threatened to drop out if he did not receive higher billing. McGhee agreed to elevate Osbourne on the bill, dropping down his clients M ötley Cr üe. Bon Jovi remained the headliners. For many of the performers, the two shows, meant to be functionally identical, wound up bleeding into each other, with few able to remember what had happened at the first show, and what at the second.

Curt Marvis: The night before [the] show, we were in the hotel room with Sharon and Doc and Ozzy, and trying to convince him that everything was going to be OK, and [Ozzy] was going to refuse to go on.

Doc McGhee: Remember, there wasn’t any Facebook where everybody in the Soviet Union could talk to each other. We couldn’t tweet out to everybody. This was all word of mouth around the world. Literally word of mouth. But it was sold-out both days, and people [were] waiting in lines and lines and lines just to listen to the music.

Bruce Kolbrenner: I’m not a political person, but knowing that we were in Lenin Stadium, which [the United States] boycotted in the [1980] Olympics, was a pretty remarkable event.

Rob Affuso: My tour manager was banging on the door, and I just wasn’t waking up. So he went and got security, got a key, came in, dragged me out of bed by the ankles. My head cracked the floor, mind you, [it] was about eight inches off the floor. And then he picks me up and puts me in the bathtub and fills it with cold water. So that is how we started the day for the Moscow Music Peace Festival.

Tom Keifer: I came down with a stomach bug, which they thought was from the water. I was pretty sick both shows.

Ernie Hudson: I think it was the first day, it was raining. These military helicopters went up, so I’ve been told, they put some kind of chemical in the clouds, and they just disappeared. Totally gone. I don’t know what it was. … They sprayed something in the air. Sunshine.

Yosef Sachs: People were half-naked, because I remember it was pretty warm at the time. People were taking off their shirts. It was packed everywhere, really like sardines.

Xenia Kuleshova: I invited my parents to the concert. I didn’t have a boyfriend back then and I wanted to show my parents what the Western world was like. They were shocked, and I was happy to brag and impress them.

Klaus Meine: The mayor of Moscow, on the first day of the show, he went up on stage. There were a few officials, they had a speech, the Olympic fire was burning in this Olympic stadium. [Then] the show started, [and] Sebastian Bach ran out on stage screaming, “Let’s rock, motherfucker!”

Sebastian Bach, lead singer, Skid Row [ from pay-per-view special ]: “Check this out, motherfucker! I want to see some hands in the air!”

Scotti Hill: We thrive under pressure. And the underdog slot, we want to put a fire under everybody’s ass. I’d say we did good.

Peter Max: There was a no-man’s land between the stage and the crowd that was maybe 12 feet or 15 feet wide. The Russian soldiers were keeping the crowd back.

Mary Gormley, A&R representative, Geffen Records: Even the soldiers were so young.

Scotti Hill: To see armed soldiers patrolling the stadium, and soldiers lining three deep in front of the stage, it’s like, “Whoa! Is that necessary?”

Stas Namin: They couldn’t imagine that rock & roll wouldn’t hurt anybody.

Xenia Kuleshova: I think it was hard for them to remain serious. It’s so hard to act like you always do when everything around you is like nothing you’ve seen before!

Yosef Sachs: The police, they were also going crazy. They were participating in the show. They were also listening to music, and were really grooving with it.

John Kalodner: The Russian military was great. They let Richie Sambora and me ride on a Russian military helicopter.

Tom Keifer: The crowd was so warm and so responsive, and so familiar with the music. It was just an amazing two days at that stadium.

David Bryan: Everybody was so polite. They weren’t drunk and screaming and pushing each other. Everybody was very organized. It was like [ posh English voice ], “Oh, we’re watching a concert today.”

Joe Cheshire: [The audience] didn’t have any idea how to act at a rock & roll concert. They were all in there, but they had no idea how to act. And as the concert progressed, you could see them beginning to understand how to enjoy and participate in this concert. It was amazing watching them figure it out, and then watching them enjoy it. It was almost like you could palpably feel for the first time in their lives, they were in a place where they could have fun and feel free.

Xenia Kuleshova: I didn’t know what the “right” reaction to music was or how people in the West reacted to it. I remember feeling that this show was like a celebration, and that all the people around me were also celebrating.

David Bryan: They didn’t even know how to act yet. They were all eating pastries. They’d never seen a show before. They weren’t rushing the stage. I think everybody was in amazement that there was an actual rock band there.

Stas Namin: They came not just to enjoy rock & roll, but to enjoy rock & roll as a symbol of freedom, a symbol of something they were dreaming all their life.

Rob Affuso: It was rabid. It was as if you’re in a desert and you’re dying of thirst and you’re brought gallons and gallons of water. It was a feast. These people were just out of their minds, excited, just beyond. They had to behave, but their enthusiasm was just off the charts.

Peter Max: They were the most excited audience I’ve ever seen at a show.

Tom Keifer: They were all wearing jeans and holding up everybody’s albums.

John Kalodner: Pure ecstasy and loving the music.

Peter Max: A lot of screaming and yelling. Girls taking their shirts off and throwing it in the air.

Rachel Bolan: [There was] a big banner with a Kiss logo [that] said ‘Kiss Army.’ And I’m a Kiss fan. And I’m like, “Are they making a special appearance here?” That’s when I realized, it’s not really about the bands who are on stage, it’s about the spirit of music: “I love Kiss. I know they’re not playing, but I love Kiss.”

Ozzy Osbourne: The first few rows were these stern-looking soldiers, but behind them it was just a regular rock-show crowd.

Tom Keifer: Everybody had the same amount of time to play. There was one of those revolving stages. There was literally a clock. And they said, when you see your time running down, we’re going to start turning the stage.

Stas Namin: I don’t think [Soviet rock band Gorky Park] performed better than anybody. I think worse. Because [they were] not so experienced. I just made them. And they didn’t have so much experience with live concerts. But still, they were good, and they looked good.

Klaus Meine: One hundred thousand people came from all over Russia and the Eastern Bloc countries, including our fellow countrymen from the former DDR [East Germany], that never saw the Scorpions live in the DDR, because we never were allowed to play in the DDR. … For us it was something emotional that had a deeper meaning than just playing a rock show.

Ernie Hudson: I think the Scorpions probably stole the show. Just a personal opinion. They’d been there before, everybody knew who they were.

Rudolf Schenker: It was for us a very big dream, especially coming from Germany, showing the Russians that there is a new generation growing up in Germany who are not coming with tanks and making war, but coming with guitars and playing music and bringing love and peace.

Klaus Meine: I think we gave Bon Jovi a good run.

Doc McGhee: The Russian Air Force and Army that was there couldn’t have done anything but praise us and they were so gracious. It was insane. It was like we had liberated a camp in World War II.

Klaus Meine: The security, which was mostly Red Army soldiers, were throwing their caps in the air, their jackets, they were going totally nuts when we played. From doing their jobs, being security people, they turned around, they wanted to see the show. They became part of the audience, which was really amazing to see.

Joe Cheshire: My wife and I walked all the way to the other end of Lenin Stadium from where the stage was. If I remember right, the stage was the largest stage that had ever been built for a rock & roll concert. We walked all the way to the end of the stadium, which is a long way, and we walked all the way up the stairs. We had our lanyards identifying who we were, and all these people would see it and come up and hug us and thank us. It was just an absolutely indescribable feeling of freedom and joy.

Rachel Bolan: They were just enjoying themselves so much, I don’t think they cared about the bands, except for Ozzy.

Stas Namin: When Ozzy Osbourne appeared, the multi-thousand crowd of fans bum-rushed the stage, and somebody even threw a bottle on stage. The guarding troops were ready to start suppression, and the festival had to be stopped. I asked the general to let me talk to the crowd and came on stage. I said, “You are humans, not pigs. Look around and block those who don’t behave themselves properly. And now if you still want the festival to go on, back up three steps, sit down on the grass, and relax.” And they did. When I returned backstage, the KGB general asked: “Is it possible somehow to hire the guy who could control one hundred thousand people?” I just smiled.

Heather Locklear: There was not supposed to be a headlining band. I heard that from Mötley Crüe.

Klaus Meine: Everybody thought he should play last. And at the end of the day, it was, of course, Bon Jovi. Doc was Bon Jovi’s manager. … Everybody was arguing about it and fighting backstage.

Doc McGhee: We had all headliners, mostly. So yeah, there was some kibitzing about who did what.

Heather Locklear: I thought it was amazing that we did go to Moscow, and that it did make some peace. But there was no peace amongst the acts.

Tommy Lee: In true Mötley fashion, we actually like being the underdog, so we can go up there and just smash the hell out of the set, and good luck to anybody trying to follow that. I remember having some issues with [not being headliners], and we were like, ‘You know what? Fuck it. Let’s just go out there and kill it, and let them struggle to put on a better show.’

Scotti Hill: Out of all the bands, Mötley Crüe had the best set of everybody, by a mile. They were on fire. They were out there with something to prove, and they did.

As part of M ötley Cr üe’s set, the band smashed one of their guitars.

Mikhail Olaf, Soviet music fan: [ Quoted in Rolling Stone story, October 5, 1989 ] Such a guitar would be sold on the black market. … You Americans have so much rock & roll, you can afford to waste it. Here one guitar is a shrine. One rock concert is a counterrevolution.

Tommy Lee: You could tell that they didn’t get very many concerts, because they were going fuckin’ bananas. It wasn’t your typical reaction to playing a show in Boise, Idaho or Los Angeles. These are people that probably have been waiting for years to see you play. This is the one shot.

Peter Max: I remember Bon Jovi popping up in the middle of the stage. It was like a Michael Jackson move. He popped up in a big cloud of smoke.

Heather Locklear: I remember Jon Bon Jovi coming out in a Russian outfit, like a Russian soldier, in the middle of the crowd, and having the crowd spread like Jesus was coming down.

David Bryan: [He asked] a military guy, ‘Give me your hat and coat.’ Jon always likes to pull good tricks when there’s a whole bunch of other bands playing.

Tommy Lee: Jonny’s got the Russian police to split the crowd and walk down the center, and all of a sudden he goes back to the stage, and then boom! These huge explosions! And I’m like, ‘What the fuck?’ … Mötley’s a very pyro-heavy visual kind of performer, so we were told that there wasn’t pyro available. OK, well, that’s understandable. We’re all the way in Russia, I guess they don’t have pyro here. And then I remember walking out to the front of house and watching Bon Jovi start the show.

Heather Locklear: I was a little bit like, “Well, you guys, it seems like there’s special attention here. You guys didn’t really know what was going on.”

Doc McGhee: I man up for everything. I take full responsibility for what happened. It was just a crazy time.

Curt Marvis: It seems very funny and petty looking back on it now, but at the time it was a big deal.

Doc McGhee: Mötley got pissed off about the fireworks. I think it was just the pressure on Tommy thinking that Bon Jovi one-upped them with some fireworks that went off. It was like a popcorn fart. It wasn’t like they set off a lot of pyro. It was just one that went off and Tommy freaked out. That was it.

Tommy Lee: I immediately ran back, backstage, and found my manager, and I remember shoving him. Like a big chest push, just ‘boom.’ And I pushed him on the ground, like “Fuck you, you fuckin’ lied to us. Tomorrow morning, you’ll be working for the fucking Chipmunks.”

Heather Locklear: I saw my ex-husband hit Doc McGhee. It felt sucker-punch-ish.

Rob Affuso: Later in the evening, I went up to watch Bon Jovi from the stands, way up in the back. I was sitting there, and this group of soldiers approached me. Obviously, I got really nervous. I didn’t know what was about to happen. And they came up to me and put their guns down. They sat next to me and they said, “We want to thank you so much for coming to our country to bring us rock & roll. We don’t have rock & roll in our country. Thank you, thank you.” And they were crying. It was a really incredibly emotional moment.

Scotti Hill: [For the second-day encore], we played “Rock and Roll” by [Led] Zeppelin. Everybody came out. Guys were swapping back and forth on the drums, some guys had guitars, some guys didn’t. Everybody was there.

Sebastian Bach: [ in film ] “You guys ever hear of Led Zeppelin?”

Doc McGhee: Motley didn’t participate. Sometimes you just have to leave your shit at home and go and do stuff for other reasons than your own shit. Some people can’t get past it.

“That Was Rock & Roll, Wasn’t It?”

Curt Marvis: We got back to the Hotel Ukraine, and there was this huge fountain in the lobby of the hotel, and myself and a few others ended up swimming in the fountain in the hotel lobby when we got back in delirious triumph. I do remember the sense of relief when the show was finally over for everyone was massive. Everyone was just completely burned out.

Heather Locklear: We ended up going on an earlier flight home. On the bus to go out, a kid [came] up to Tommy and [said] “Will you sign the back of my jean jacket? I think you’re great.” As Tommy was about to sign it, he said, “I’m Jon Bon Jovi’s brother,” and I think Tommy wrote something bad on the jean jacket, like “fuck him” or something, and later regretted it, because the brother had nothing to do with what Jon was doing. They were pretty angry. They were sold a bill of goods.

Tommy Lee: Personally, it’s like another notch in the belt. Now we’ve crushed Russia.

Ernie Hudson: Coming back was wild and crazy. Ozzy was on [the airplane] and he was looking for booze the whole time. Sharon was telling everyone, “Nobody give him anything,” and finally he got on her nerves, he got some kind of bottle.

Doc McGhee: The mayor of Moscow had a big party for me with Stas. Stas and I and my wife spent three days in Moscow. We got to visit his family’s gravesite and understand a lot more about his family, and how important his family was to the Soviet Union.

Rob Affuso: Shortly thereafter, we were at the Berlin Wall when that came down. We were in Berlin when that whole thing happened. So we really got to experience two amazing world moments that year. I remember seeing people crying. It was tears of joy.

Rudolf Schenker: Klaus was sitting across from me at the round table [at a bar in Paris], and was pointing on the TV behind me on the bar: “Hey look! It’s the Wall!” And I looked around and I said, “Yes! It’s the Berlin Wall!” There’s people standing on the wall and breaking the wall. We couldn’t hold [back] the tears, of course. We said to our record company, “Hey, guys! Champagne! Champagne!”

Klaus Meine: There was so much hope in the air. … That was the feeling when I went home, and started writing [“Wind of Change”]. It was just reflecting what we went through between Leningrad and Moscow.

Stas Namin: [The concert] showed me that even impossible things are possible.

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Xenia Kuleshova: I learned a lot from the musicians, from their relaxed attitude to life. I understood that I didn’t just want to “work” in life. I wanted to do something I love.

Joe Cheshire: I think that it has been, in many ways, one of the most forgotten important rock & roll moments.

Scotti Hill: It’s one of the toppers on that cake of all the shit that I’ve done in my life. I still have my leather jacket hanging in my closet.

Heather Locklear: My highlight was Richie Sambora. Isn’t that terrible? And I was married.

Rob Affuso: After 20 years or so, you go back, and then you say, “Holy shit, this was huge and I was a part of it.” Then it feels special. I can’t imagine what these guys who played Woodstock feel. I would suspect maybe the same thing.

Klaus Meine: In 1991 we had this invitation to see Mikhail Gorbachev at the Kremlin. That was something. It was like the Beatles meeting the queen. … He spent quite some time with us, an hour or so, talking about glasnost and perestroika . We had a little jam session on “Wind of Change,” of course. So I said to him, “Now we are at the Kremlin. When I was a kid, I remember Nikita Khrushchev taking his shoes out at the United Nations and he hit the table with his shoe. We were all shocked, the whole world was shocked. Thinking about the next big war.” Gorbachev said, “That was rock & roll, wasn’t it?”

Rudolf Schenker: He said that the music was a very important part [of] the Russians be[ing] open [to] this kind of new life. The young people wanted to b e a part of the rock & roll family. Because this music was somehow a key for the free world.

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Speech On Music | Music Speech for Students and Children in English

September 8, 2020 by Prasanna

Speech On Music:  For a human, music is vital in different moments of life. Music helps in spreading happiness and joy in the life of a person. Music gives us the soul of our life and gives us immense peace of mind.

As Beethoven once said, music has the ability to change the world. It is quite right, as music helps us soothing physically and mentally. Music is the best ailment, according to physicians. Thus, we can connect souls and find our real self with the help of music.

Students can also find more  English Speech Writing  about Welcome Speeches, Farewell Speeches, etc.

Long And Short Speeches On Music for Kids And Students in English

We are providing a long Speech on Music of 500 words and a short speech on Music of 150 words with ten lines about the topic to help readers.

These speeches will help the students of schools and colleges to deliver a speech on Music in speech competitions or general occasions in their educational institutes for the students, teachers, and other guests.

A Long Speech on Music is helpful to students of classes 7, 8, 9, 10, 11 and 12. A Short Speech on Music is helpful to students of classes 1, 2, 3, 4, 5 and 6.

Long Speech On Music 500 Words In English

Good Morning to all present here.

Today, I want to talk about music. Everybody knows music. Music is a pleasant flow of sounds in the air, which changes with rhythm and systematic method. It is the skill or art that a musician possesses and gives a musical performance for the audience.

One of the greatest boons of God for all living beings is music. Music helps in classifying all the sounds in rhythm into a system, and then anybody can learn and practice it. Everybody enjoys the harmony and the pleasant rhythm made by the musical sounds.

The styles of music have changed drastically over the years. Mainly there are six eras of musical history. Those are the Middle Ages, Renaissance, Classical, Baroque, Romantic music, and the twentieth century. Music is a common form of entertainment for everybody.

According to the dictionary, music is an art of sound, which explains the ideas and emotions through the elements of rhythm, harmony, and melody.

Music helps us to feel relaxed and refreshed, which soothes our bodies. It removes our anxiety and stress from everyday life. For healing your pain, music is excellent medicine. Music helps in taking us in the world of melody and helps us in forgetting disturbing memories.

Music helps us bring back the old memories. Music therapy is a great way to solve several problems and several emotions in our daily life. Music helps our brains function quicker and helps us maintain our calm in the daily life schedule.

Music helps doctors and psychologists a lot to treat their patients. It helps to calm the patient’s state of brain and behaviors. Music therapy is an excellent tool according to researchers and practitioners.

Music can help our brain to recover from brain injuries. It is a great way to activate brain cells in alternative ways. It helps in healing the damaged areas and allowing people to regain their speech and their movement. Indeed, music can heal people in stressful situations.

Music helps in changing the structure of the brain. It gives people new chances to speak and move. Various studies show that music therapy helps in regularizing the breathing rates of the heart. It helps in treating cancer patients. Music is an excellent way of treating different psychological issues like depression and anxiety. Children with developmental disabilities can get their help from music therapy.

Lastly, I want to say that music is a gift of God, and if you are skilled with music, you have a gift to cherish forever. I thank those musicians, who with their beautiful melodies, support my low times and helps me to celebrate in my good times.

If you want to heal stress irrespective of whatever age you are, music is the key. Music is highly effective as well as supportive to relive the pains of a person. The pain can be mental or physical, but music heals all. So, we will be alive if music remains alive.

Short Speech On Music 150 Words In English

Good Morning Everyone.

Today on the World Music Day occasion, I want to talk about the importance of music. Music is a pleasurable sound that is combined with melodies, and it helps to soothe you. We call a person musician who knows music.

Music is of different styles. Every sound has music. The sound of the waterfall, the sound of the flowing ocean waves, or the river have harmony.

Music can heal a person emotionally and mentally. It is a form of meditation for a peaceful mind. Music cures anxiety, depression, and also insomnia.

The essence of life is music. Everything with a rhythm is music. Music conveys emotions to people. If you want to connect to God, music is a great way. So, the power of music is inevitable. Without music, life would be very dull, but with music, you can enjoy your good times and deal with your bad times.

10 Lines On Speech On Music In English

• For any culture, music is an essential part. The type of music defines the beauty of that culture.
• India is known for its rich musical culture. From classical to Indie pop, to jazz, and folk, India is full of musical surprises.
• India has different types of music, which generally includes the folk, modern, and classical type of music.
• The northern part of India is famous for Hindustani music, and the southern part of India is famous for Carnatic music.
• Music can be of 2 types- Vocal music, which includes a musical performance by one or more singers and instrumental music performed by instruments by a single person or group.
• Music helps us in our peace of mind. It helps in curing our mental disturbances.
• There is music for every occasion. Whether you are sad or happy, music is the key to everything.
• Music helps in the treatment of patients for physical and also mental conditions. For psychologists or any doctor in general, music has been said proved to be an effective medicine.
• If you want to connect with God, the best way is through music.
• So, without music, life is very dull, but with the help of music, we enjoy a happy life.

FAQ’s On Speech On Music

Question 1. When do we celebrate World Music Day?

Answer: On 21st June, every year, we celebrate the music day globally.

Question 2. Why do we call music as a universal language?

Answer: Music is known for being a universal language because it has no limits and boundaries. It connects to people irrespective of any barriers of language, religion, or country.

Question 3. What are the different forms of music in India?

Answer: India is known for having a diverse cultural background. It has a variety of styles of music. There are classical forms of music, Pop, Ghazals, Bhajans, Carnatic, Folk, Bhangra, Sufi, Indo jazz, and many more.

Question 4. Who started the world music day?

Answer: The France Minister of culture, Jack Lang, found World Music Day. Along with him, the French composer, Maurice Fleuret, who was also a music journalist, helped in the foundation of this day.

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Moscow Music Peace Festival 1989

Aug 12 - 13, 1989 (35 years ago) Luzhniki Stadium     Moscow, Russian Federation

Often referred to as the “Russian Woodstock,” the Moscow Music Peace Festival was the first festival in Moscow to include Western bands performing with Russian bands. From the West, Cinderella, Skid Row, Mötley Crüe, and Bon Jovi represented the US, Jason Bonham and Ozzy Osbourne represented the UK, and the Scorpions represented Germany alongside Russian bands Gorky Park, Nuana, and Brigada S. The series of concerts promoted new understanding and peace between the Western and Eastern blocs during the glasnot era of the Soviet Union. Over 100,000 people attended in-person with spectators viewing the live broadcast in nearly 60 nations.

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Moscow Music Peace Festival August 1989 (Remaster 2008) FM broadcast

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      Moscow Music & Peace Festival

     Central Lenin Stadium (now Luzhniki Stadium)

     Moscow

     August 12-13, 1989

       FM broadcast

     Skid Row:

       Makin' A Mess

       Piece Of Me

       Big Guns

      Youth Gone Wild

     Gorky Park:

       Action

       Bang

       My Generation

     Cinderella:

       Save Me

       Comin' Home

       Gypsy Road

       Nobody's Fool

     Ozzy Osbourne:

       I Don't Know

       War Pigs

       Suicide Solution

       Crazy Train

       Paranoid

     Mötley Crüe:

       Shout At The Devil

       Looks That Kill

       Wild Side

       Smokin' In The Boys' Room

       Girls, Girls, Girls

       Jailhouse Rock

     Scorpions:

       Blackout

       Bad Boys Running Wild

       The Zoo

       Rock You Like A Hurricane

       Still Loving You

     Bon Jovi:

       Intro > Blood On Blood

       Wanted Dead Or Alive

       Bad Medicine

       Living On A Prayer

     Jason Bonham All-Star Jam:

       Hound Dog (fades in)

       Long Tall Sally > Blue Suede Shoes

       Rock & Roll

       Give Peace A Chance

    lineage

    FM Broadcast > cassette > Stand alone cd-r recorder > EAC > TLH

   --   Best quality  LOSSLESS  m4a, cue, playlist:       download .   

The Moscow Music Peace Festival was a rock concert that took place in the USSR on 12 and 13 August 1989 at Central Lenin Stadium (now called Luzhniki Stadium) in Moscow. Occurring during the glasnost era, it was one of first hard rock and heavy metal acts from abroad that were granted permission to perform in the capital city, (being the first the ten shows the British band Uriah Heep played from 7 to 16 December 1987 at the Olympic Stadium). Over 100,000 people attended and it was broadcast live to 59 nations including MTV in the United States. The event promoted understanding between the Western Bloc and the Eastern Bloc during the Cold War and also raised money to help those addicted to drugs and alcohol. The concert featured six bands from abroad and three Russian bands. The concert ended with the various band members participating in jam session. An album and documentary were released.

It inspired the 1990 song "Wind of Change" by Scorpions, one of the bands that performed at the concert. The song became one of the best selling singles of all time.

Modeled as a "Russian Woodstock" the concert was a joint production by Russian musician Stas Namin and American music manager Doc McGhee.

The concert was put together by the Make a Difference Foundation, its founder, rock producer and manager Doc McGhee, Stas Namin and other major players in the Soviet Union and the United States. It is often stated that McGhee agreed to bring his artists to Moscow after becoming involved in a drug scandal himself and wishing to avoid a jail sentence, but he explicitly denied that in 2011. "We always wanted to go over to Moscow and do the first rock show in the Soviet Union. I wanted to do their Woodstock." Since it had also been part of that plan that the proceeds would go to Make a Difference and doctors would be brought to the USSR to teach methods of treating addiction (Soviet doctors at the time primarily used electroshock therapy for that purpose), he did not expect the sentencing judge would have denied him the opportunity.

Mötley Crüe have been on record stating they were upset with McGhee at this point in time. They felt McGhee was favoring Bon Jovi, whom he also managed, and whom Crüe disdained. When Bon Jovi closed the show, they used pyrotechnics, which Mötley Crüe had been told they could not do (McGhee claims it was a malfunction on one side of the stadium that he did not hear because he was backstage). Sebastian Bach of Skid Row, whom McGhee also managed, says Tommy Lee went over to him and said "Your manager's a fucking asshole" and chugged most of a bottle of vodka Bach had been drinking (up to this point, Lee has said, it was the first time the band had done a show sober). Then he ran up to McGhee, punched him in the face and told him he could go manage The Chipmunks because he was no longer Mötley Crüe's manager. Bon Jovi fired him as well shortly afterwards. Lee and his bandmates were still so angry they refused to fly home on the same plane as McGhee. The concert was also often chided by the bands themselves as being hypocritical, as many of the musicians were drinking or using drugs at the time despite the ties with the Make a Difference Foundation.

The event was held over two days in Moscow's largest stadium, Central Lenin Stadium (now called Luzhniki Stadium), which has a seating capacity of about 100,000. However, as the concert used a proscenium stage rather than an arena stage, about a thousand seats behind the stage were not occupied. About 120,000 tickets were sold in total. The event was the first rock concert to be held at the stadium, which had previously been used primarily for sporting events.

Noted in books such as Bang Your Head: The Rise and Fall of Heavy Metal, the concert also showcased the ego clashes which eventually helped lead to the collapse of glam metal shortly thereafter. Many of the bands argued over who went on before whom, and many were envious of Bon Jovi, who not only headlined the event but also had a much more theatrical stage spectacle and longer set times; each band was supposed to do a stripped-down show with just music and no spectacular theatrics. Jon Bon Jovi supposedly offered his headlining spot to Ozzy Osbourne after Ozzy threatened to not go through with his set. Ozzy's set was initially scheduled before Mötley Crüe's set. Apparently, Ozzy felt his band was bigger and he should go on after Mötley Crüe. To solve the problem, Mötley Crüe went on before Ozzy but the tape was edited so it appeared Ozzy went on before Mötley Crüe to the viewers back in the U.S. Those involved in the show's production felt this was an egotistical bush move on Ozzy's behalf since this was supposed to be for charity, and left many in the rock 'n roll community confused since Ozzy and Mötley Crüe toured together for Ozzy's Bark at the Moon and Mötley Crüe's Shout at the Devil albums, respectively, and became fast friends during the tour.

The event became known for inspiring the song "Wind of Change" by the Scorpions, a ballad which became a soundtrack to the collapse of the Berlin Wall and the end of Soviet Union The Crooked Media podcast "Winds of Change" provides some evidence to suggest that Doc McGhee was covertly leveraged by the US Government to produce this concert as a vehicle to create an origin story for the Scorpions song as part of a secret culture operation to influence the Soviet government.

    Cinderella: Tom Keifer, Fred Coury, Jeff LaBar, Eric Brittingham

    Gorky Park: Alexie Belov, Nikolai Noskov, Sasha Minkov, Jan Ianenkov, Sasha Lvov

    Scorpions: Klaus Meine, Matthias Jabs, Francis Buchholz, Herman Rarebell, Rudolf Schenker

    Skid Row: Sebastian Bach, Dave Sabo, Rob Affuso, Rachel Bolan, Scotti Hill

    Mötley Crüe: Vince Neil, Nikki Sixx, Tommy Lee, Mick Mars

    Ozzy Osbourne: Ozzy Osbourne, Zakk Wylde, Randy Castillo, Geezer Butler, John Sinclair

    Bon Jovi: Jon Bon Jovi, Richie Sambora, Alec John Such, Tico Torres, David Bryan

    Special Guest (for finale): Jason Bonham

Each tape was my own master tape. This is the FM broadcast of the festival, 

not the video soundtrack, and it comes from my master tapes. Both days 

of the festival were recorded, then diced & sliced to make up the many 

broadcasts that Doc McGee had licensed out. There were FM radio broadcasts, 

and pay-per-views, different cable systems had different versions 

of the broadcast. 

My pay-per-view had different songs than my friend 2 cities away.

This recording shows some of the technical problems, some apparent like Skid Row's sound, 

their set sounds like it was the sound check. 

Ozzy's intro music is still playing 2 minutes into 'I Don't Know.' You can hear bleed-through from 

technicians setting up and checking mics for the next band periodically through out the 

entire show, during other bands' sets. I missed the beginning of 'Hound Dog' due to a 

tape flip, so I faded that in. I took out the interviews and sound bites between sets, as well as the commercials, 

so there are fades-in between each band's set."

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Uploaded by colinzim on February 20, 2024

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