speech festival upload

NJSDL ONLINE SPEECH FESTIVAL SERIES

Published by david yastremski on october 30, 2021 october 30, 2021.

Your school is invited to participate in the 2021-2022 New Jersey Speech and Debate League Online Speech Festivals.  These festivals are designed to provide students an avenue to develop and share their public speaking and performance skills in a convenient, educational, and fun way! 

Teachers will upload videos of student performances to be evaluated by a selection of educators and experienced judges!  Students will receive commentary and feedback aimed at helping them improve their speaking, performance, and communication skills!

Students will receive recognition for their video submissions along with feedback from the evaluators! Teachers will also receive school recognition to display in their classroom, offices, or trophy cases! 

Schools do not need to be members of the NJSDL to attend. See the invitation for more details.

https://docs.google.com/document/d/1AV95jaNztY5eq5T084qvI6igmLxfQbEZldjY-QVta3s/edit?usp=sharing

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Top 10 tips for Speech Festival success! Part 1: Preparation

Decide which event to enrol in – depending on age, the child may be able to choose from verse (a poem), prose (an extract from a story), or reading aloud (performing from a written document). Most students enter the verse event, which is a great place to start for a first speech festival, but the selected pieces from other events may strike the imagination more or add further depth to the child’s learning.

Explore the piece with others through read-throughs, storytelling, and pictures. It’s very important to understand what is happening in the piece – the meanings of the words, who the characters are, what the main theme is, how the mood is described, the rhyme scheme and rhythm, and what is happening in the action.

Look at the structure and breathing patterns. This is like the skeleton of the piece, so it’s important to get this right before adding on the rest of the “body”. Divide the piece up into phrases divided by punctuation and meaning. Remember that you might not always be able to breathe at the end of the line of a poem to keep the phrasing and meaning.

Practise the pronunciation and diction. Read through the piece very slowly and clearly, making sure that each sound is said correctly and accurately. Pay particular attention to ending consonants like d , k , and t , and more dificult sounds like th . When speaking in a big room, it’s easy for these sounds to get “swallowed” and make the words seem unclear.

Memorise the piece. Make sure you have gone through the 4 steps above first before you start to memorise. It’s not a good idea to memorise too early as bad habits may be memorised and will then be more difficult to correct. (Note that reading aloud pieces should not be memorised as the technique is to perform while reading from a document or book.)

Picture the piece like a movie in your mind. As you are reciting the piece, imagine you’re playing a movie in your head where you can see the characters and the action unfolding. This helps enormously with creating natural sounding expression.

Develop expression in your voice. Find different words and phrases in the piece where you can vary the volume (loud/soft), pace (fast/slow), and pitch (high/low). Look for special words to emphasise. Show the feelings that the piece is conveying through changes in the voice.

Use your face and eyes. These are as important as the voice when conveying expression and meaning. Show the action and moods through wider or more narrow eyes, raised eyebrows, smiles, frowns, and a range of facial expressions. These all add to the interest and depth of the performance.

Show engagement and enjoyment! This is often even more important than technical ability. The adjudicator is looking for a genuine connection with the piece by the performer. With dozens of other students all reciting the same piece, it’s important to stand out!

Practise … but not too much. Make sure you are fully familiar and comfortable with the piece – practising for 5 minutes every day is better than doing nothing for a week and then repeating the piece over and over for an hour. Make sure you don’t over-practise so that the piece no longer sounds fresh. The trick is to have it “just right” for the event day!

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Speech Festival 2023

Secondary Girls Poems

Great BONUS HK Speech Festival examples for the Girls Poetry Recital on Youtube

S1: https://www.youtube.com/watch?v=katBv3yefoM

S2: https://www.youtube.com/watch?v=Tfjv15EOuUY

S3: https://www.youtube.com/watch?v=ysgyOJcfFR0

S5: https://www.youtube.com/watch?v=VqyNv3_-Fi0

Note: Couldn't find an S4 example

Secondary Boys Poems

Great BONUS HK Speech Festival examples for the Boys Poetry Recital on Youtube

S1: https://www.youtube.com/watch?v=xvyWmRtm5qU

S2: https://www.youtube.com/watch?v=klD4WsfEX1g

S3: https://www.youtube.com/watch?v=nXmqPwB2Brg

S5: https://www.youtube.com/watch?v=7AHfsywO7k4

NJSDL December 2023 Speech Festival

General information

This is a High School tournament in New Jersey .

View manager contact information

• October 2023 NJSDL Online Speech Festival Registration and videos due by October 15, 2023; Asynchronous Judging 10/16/23-10/19/23  
• December 2023 NJSDL Online Speech Festival Registration and videos due by December 3, 2023; Asynchronous Judging 12/4/23-12/7/23  
• May 2024 NJSDL Online Speech Festival Registration and videos due by May 1, 2024; Asynchronous Judging 5/2/24-5/7/24
• The October 2023 NJSDL Online Speech Festival will celebrate Hispanic Heritage Month.
• The December 2023 NJSDL Online Speech Festival will celebrate International Day of Persons with Disabilities.
• The May 2024 NJSDL Online Speech Festival will celebrate Asian American & Pacific Islander Heritage Month
• Congressional Debate Authorship Challenge ( December 2023 Legislation Packet )
• Prepared Prompt ( December 2023 Prompts )
• Orginal Spoken Word Poetry (December 2023 submissions should celebrate International Day of Persons with Disabilities)

The other NJSDL events offered will be:

• Children's Literature (HS Only)
• Dramatic Performance (MS & HS)
• Humorous Performance (MS & HS)
• Prose Interpretation (MS & HS)
• Poetry Interpretation (MS & HS)
• Program Oral Interpretation (MS & HS)
• Original Oratory (MS & HS)
• Informative Speaking (MS & HS)
• Declamation (MS & HS Freshman/Sophomores)
• Pro Con Challenge (MS & HS using the current Policy, LD or PFD Topics)

Manager contact information

Raymond Shay Email address: [email protected] Phone number: 6107160344

Mailing address

Box #337 203 Main Street Flemington, NJ 08822

8 - 10 June 2024

Venue sponsor dalton school hong kong, registration deadline: 10 april 2024, 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

Mary Had a Little Lamb

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.

Hong Kong Speech Festival - Solo Verse Tips and Advice

The Hong Kong Speech Festival (English speech) is upon us again and that means a lot of students are preparing for their solo verses. As usual, the poems require the students to immerse themselves in the poet’s words and showcase their ability to convey emotions in order to score high marks.  And as always, this is the most difficult part for any participant in these competitions. Students will definitely need speech festival training and practice

Most schools will provide some basic guidance on what students need to do. Teachers will probably go over procedures, the format and provide simple training. Unfortunately, teachers usually can’t help each individual student and that’s why parents often look for speech festival training help on their own. Here we’ll talk about a few tips to help your children improve.

• Students need to memorize the entire poem and be able to say each word correctly. If there are any mistakes, points will be deducted. For example, if the poem writes “the snake in the grass” and the student says “a snake in the grass”, they’ll lose marks for this error.
• Building on saying each word correctly, students also need to be sure they enunciate well. This means that each word should be said clearly and each syllable is audible. Students should practice saying the multi-syllable words in the poem with specific emphasis on saying the ends of the words. Special attention on hard sounds in English, like “t” and “ck”, should be recognized. The organization still emphasizes British pronunciation, so if you can, try to have them practice with this in mind.
• The theme or central idea of the poem should be understood by the student. If they don’t understand what the poem is about, they probably can’t relay it to the audience. For example, if the poem is somber, and the student recites it in a happy way, it shows that they didn’t understand the poem very well.
• The student needs to understand every word in the poem. They need to understand how it’s used to convey the poet’s ideas and feelings. If they don’t understand the words, they won’t know if they need to emphasize it. Sometimes poets play with words in order to create a new feeling or idea and students need to be able to recognise this.
• Volume, syllable stress and timing play a huge role in getting the overall tone of the poem down. Knowing when to slow down, pause, get louder and then focus on certain parts of words give the dramatic effect that leads to high marks.
• Emotions seen through the face and heard through the voice are usually what determines if the student will score high or not (if they do the previous tips well). The student really needs to “dive into” the poem. For example, this year the P3 boys solo verse is “Elephant Walking” by Clive Sansom. In this poem, the speaker is an elephant in search of water. How do you convey the emotions of an elephant? You have to teach the student that the poet is attaching his human emotions onto the elephants in the poem. If the poet or an elephant sees a tiger, wouldn’t they both feel scared? Students have to show the emotions/feelings of the poem accurately and correctly in order to get high marks.

These tips should help students who are preparing for their poems by giving them more focus on what they need to improve on. In most cases, students need to work on all of the focus points above so it truly is a lot of work. There are a few resources online, but a lot of useful ones can be found on youtube . Just type in the name of the poem on the list and you’ll be able to hear and get some analysis on the poems.

We’re also here to help students. Please contact us if you want specialized Speech Festival Training and Practice from one of our qualified tutors. Good luck and practice hard!

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OpenAI built a voice cloning tool, but you can’t use it… yet

As deepfakes proliferate , OpenAI is refining the tech used to clone voices — but the company insists it’s doing so responsibly.

Today marks the preview debut of OpenAI’s Voice Engine , an expansion of the company’s existing text-to-speech API . Under development for about two years, Voice Engine allows users to upload any 15-second voice sample to generate a synthetic copy of that voice. But there’s no date for public availability yet, giving the company time to respond to how the model is used and abused.

“We want to make sure that everyone feels good about how it’s being deployed — that we understand the landscape of where this tech is dangerous and we have mitigations in place for that,” Jeff Harris, a member of the product staff at OpenAI, told TechCrunch in an interview.

Training the model

The generative AI model powering Voice Engine has been hiding in plain sight for some time, Harris said.

The same model underpins the voice and “read aloud” capabilities in ChatGPT , OpenAI’s AI-powered chatbot, as well as the preset voices available in OpenAI’s text-to-speech API. And Spotify’s been using it since early September to dub podcasts for high-profile hosts like Lex Fridman in different languages.

I asked Harris where the model’s training data came from — a bit of a touchy subject. He would only say that the Voice Engine model was trained on a mix of licensed and publicly available data.

Models like the one powering Voice Engine are trained on an enormous number of examples — in this case, speech recordings — usually sourced from public sites and data sets around the web. Many generative AI vendors see training data as a competitive advantage and thus keep it and info pertaining to it close to the chest. But training data details are also a potential source of IP-related lawsuits, another disincentive to reveal much.

OpenAI is already being   sued over allegations the company violated IP law by training its AI on copyrighted content, including photos, artwork, code, articles and e-books, without providing the creators or owners credit or pay.

OpenAI has licensing agreements in place with some content providers, like Shutterstock and the news publisher Axel Springer , and allows webmasters to block its web crawler from scraping their site for training data. OpenAI also lets artists “opt out” of and remove their work from the data sets that the company uses to train its image-generating models, including its latest DALL-E 3 .

But OpenAI offers no such opt-out scheme for its other products. And in a recent statement to the U.K.’s House of Lords, OpenAI suggested that it’s “impossible” to create useful AI models without copyrighted material, asserting that fair use — the legal doctrine that allows for the use of copyrighted works to make a secondary creation as long as it’s transformative — shields it where it concerns model training.

Synthesizing voice

Surprisingly, Voice Engine isn’t trained or fine-tuned on user data. That’s owing in part to the ephemeral way in which the model — a combination of a diffusion process and transformer — generates speech.

“We take a small audio sample and text and generate realistic speech that matches the original speaker,” said Harris. “The audio that’s used is dropped after the request is complete.”

As he explained it, the model is simultaneously analyzing the speech data it pulls from and the text data meant to be read aloud, generating a matching voice without having to build a custom model per speaker.

It’s not novel tech. A number of startups have delivered voice cloning products for years, from ElevenLabs to Replica Studios to Papercup to Deepdub to Respeecher . So have Big Tech incumbents such as Amazon, Google and Microsoft — the last of which is a major OpenAI’s investor  incidentally.

Harris claimed that OpenAI’s approach delivers overall higher-quality speech.

We also know it will be priced aggressively. Although OpenAI removed Voice Engine’s pricing from the marketing materials it published today, in documents viewed by TechCrunch, Voice Engine is listed as costing $15 per one million characters, or ~162,500 words. That would fit Dickens’ “Oliver Twist” with a little room to spare. (An “HD” quality option costs twice that, but confusingly, an OpenAI spokesperson told TechCrunch that there’s no difference between HD and non-HD voices. Make of that what you will.)

That translates to around 18 hours of audio, making the price somewhat south of $1 per hour. That’s indeed cheaper than what one of the more popular rival vendors, ElevenLabs, charges — $11 for 100,000 characters per month. But it does come at the expense of some customization.

Voice Engine doesn’t offer controls to adjust the tone, pitch or cadence of a voice. In fact, it doesn’t offer any fine-tuning knobs or dials at the moment, although Harris notes that any expressiveness in the 15-second voice sample will carry on through subsequent generations (for example, if you speak in an excited tone, the resulting synthetic voice will sound consistently excited). We’ll see how the quality of the reading compares with other models when they can be compared directly.

Voice talent as commodity

Voice actor salaries on ZipRecruiter range from $12 to $79 per hour — a lot more expensive than Voice Engine, even on the low end (actors with agents will command a much higher price per project). Were it to catch on, OpenAI’s tool could commoditize voice work. So, where does that leave actors?

The talent industry wouldn’t be caught unawares, exactly — it’s been grappling with the existential threat of generative AI for some time. Voice actors are increasingly being asked to sign away rights to their voices so that clients can use AI to generate synthetic versions that could eventually replace them. Voice work — particularly cheap, entry-level work — is at risk of being eliminated in favor of AI-generated speech.

Now, some AI voice platforms are trying to strike a balance.

Replica Studios last year signed a somewhat contentious deal with SAG-AFTRA to create and license copies of the media artist union members’ voices. The organizations said that the arrangement established fair and ethical terms and conditions to ensure performer consent while negotiating terms for uses of synthetic voices in new works, including video games.

The writers’ strike is over; here’s how AI negotiations shook out

ElevenLabs, meanwhile, hosts a marketplace for synthetic voices that allows users to create a voice, verify and share it publicly. When others use a voice, the original creators receive compensation — a set dollar amount per 1,000 characters.

OpenAI will establish no such labor union deals or marketplaces, at least not in the near term, and requires only that users obtain “explicit consent” from the people whose voices are cloned, make “clear disclosures” indicating which voices are AI-generated and agree not to use the voices of minors, deceased people or political figures in their generations.

“How this intersects with the voice actor economy is something that we’re watching closely and really curious about,” Harris said. “I think that there’s going to be a lot of opportunity to sort of scale your reach as a voice actor through this kind of technology. But this is all stuff that we’re going to learn as people actually deploy and play with the tech a little bit.”

Ethics and deepfakes

Voice cloning apps can be — and have been — abused in ways that go well beyond threatening the livelihoods of actors.

The infamous message board 4chan, known for its conspiratorial content,  used ElevenLabs’ platform to share hateful messages mimicking celebrities like Emma Watson. The Verge’s James Vincent was able to tap AI tools to maliciously, quickly clone voices, generating samples containing everything from violent threats to racist and transphobic remarks. And over at Vice, reporter Joseph Cox documented generating a voice clone convincing enough to fool a bank’s authentication system.

There are fears bad actors will attempt to sway elections with voice cloning. And they’re not unfounded: In January, a phone campaign employed a deepfaked President Biden to deter New Hampshire citizens from voting — prompting the FCC to move to make future such campaigns illegal.

FCC officially declares AI-voiced robocalls illegal

So aside from banning deepfakes at the policy level, what steps is OpenAI taking, if any, to prevent Voice Engine from being misused? Harris mentioned a few.

First, Voice Engine is only being made available to an exceptionally small group of developers — around 10 — to start. OpenAI is prioritizing use cases that are “low risk” and “socially beneficial,” Harris says, like those in healthcare and accessibility, in addition to experimenting with “responsible” synthetic media.

A few early Voice Engine adopters include Age of Learning, an edtech company that’s using the tool to generate voice-overs from previously cast actors, and HeyGen, a storytelling app leveraging Voice Engine for translation. Livox and Lifespan are using Voice Engine to create voices for people with speech impairments and disabilities, and Dimagi is building a Voice Engine-based tool to give feedback to health workers in their primary languages.

Here’s generated voices from Lifespan:

https://techcrunch.com/wp-content/uploads/2024/03/lifespan_generation_ordering.mp3

https://techcrunch.com/wp-content/uploads/2024/03/lifespan_generation_talking.mp3

And here’s one from Livox:

https://techcrunch.com/wp-content/uploads/2024/03/livox_generation_english.mp3

Second, clones created with Voice Engine are watermarked using a technique OpenAI developed that embeds inaudible identifiers in recordings. (Other vendors including Resemble AI and Microsoft employ similar watermarks.) Harris didn’t promise that there aren’t ways to circumvent the watermark, but described it as “tamper resistant.”

“If there’s an audio clip out there, it’s really easy for us to look at that clip and determine that it was generated by our system and the developer that actually did that generation,” Harris said. “So far, it isn’t open sourced — we have it internally for now. We’re curious about making it publicly available, but obviously, that comes with added risks in terms of exposure and breaking it.”

OpenAI launches a red teaming network to make its models more robust

Third, OpenAI plans to provide members of its red teaming network , a contracted group of experts that help inform the company’s AI model risk assessment and mitigation strategies, access to Voice Engine to suss out malicious uses.

Some experts argue that AI red teaming isn’t exhaustive enough and that it’s incumbent on vendors to develop tools to defend against harms that their AI might cause. OpenAI isn’t going quite that far with Voice Engine — but Harris asserts that the company’s “top principle” is releasing the technology safely.

General release

Depending on how the preview goes and the public reception to Voice Engine, OpenAI might release the tool to its wider developer base, but at present, the company is reluctant to commit to anything concrete.

Harris did give a sneak peek at Voice Engine’s roadmap, though, revealing that OpenAI is testing a security mechanism that has users read randomly generated text as proof that they’re present and aware of how their voice is being used. This could give OpenAI the confidence it needs to bring Voice Engine to more people, Harris said — or it might just be the beginning.

“What’s going to keep pushing us forward in terms of the actual voice matching technology is really going to depend on what we learn from the pilot, the safety issues that are uncovered and the mitigations that we have in place,” he said. “We don’t want people to be confused between artificial voices and actual human voices.”

And on that last point we can agree.

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• Written by Patrick Lynch

Visualizations of the last full-scale skyscrapers in Moscow ’s new International Business Center (“Moscow City”) have been revealed. Designed by an international team made up of HOK (USA), FXFOWLE (USA) and SPEECH (Russia), the two “Neva Towers” will provide additional residential and office space to the skyscraper district, which includes many of Europe’s tallest structures, including Europe’s tallest building, Federation Tower (sometimes called Vostok Tower); and one of the world’s tallest twisting buildings, Evolution Tower .

Located on a triangular site in the northwest of Moscow City, the two rectangular towers rise from a 4-story podium, arranged to create an open plaza and green space surrounding the buildings that will be free from future development. The landscaped space will serve as the entry point to the towers, as well as to the aboveground and underground retail galleria and parking deck.

Program types will be split between the two skyscrapers – the taller of the two buildings will reach a height of 338 meters and will contain 77 floors of residential units, while the shorter tower will provide 63 floors broken up between office and apartment levels. In total, the project will add 1,210 new apartment units.

As they rise, the towers retain a classic form that gradually steps back to a fully glazed top tier to give the structure a visual lightness and provide the penthouse apartments with panoramic views of the city.

“The tower configuration is expressly laconic: the shape of the flat high-rise buildings is modified by slight shifts of the central parts forming a sort of a core of the towers, which is enveloped on both sides by three tiers tapering upwards,” explain development group Renaissance Development.

“The facades of both towers are decorated with pylons getting narrower from the bottom up. Such design imparts a special appeal to the structure, being both effectively up-to-date and recalling the legendary specimens of the 20th century high-rise construction.”

The project has been estimated to be completed by 2019.

News via Renaissance Development .

Project Year

Photographs, project gallery.

Project location

Address: 1-y krasnogvardeyskiy pr-d, 17-18, moskva, russia, 123317.

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