谈美声歌唱艺术 田玉斌 (1995)
封面：
https://item.jd.com/66890444753.html
https://item.jd.com/10020235924298.html
Thursday, August 20, 2020
夏威夷语
下面内容来自：夏威夷语
夏威夷语的发展史
1778年库克船长来到夏威夷之前，夏威夷语只是一种口头语言，是库克和他的部下第一次把夏威夷语记录下来，而且他们很快就意识到夏威夷语和之前见过的毛利人和塔希提人的语言很相似。
传教士来到夏威夷之后，他们需要把口语形式的夏威夷语转换成一种书面语，然后教会夏威夷人读懂书面语，这样做的目的是传播圣经。
传教士发明了夏威夷语字母，总共是12个字母，后来又增加了两个标点符号：奥金那（okina）和卡汉库（kahako）。
夏威夷语一瞥
夏威夷语的字母表中共有十二个字母——五个元音字母和七个辅音字母。此外还有奥金那（okina）和卡汉库（kahako），它们是能改变单词发音的标点符号。
夏威夷语的字母是：A, E, I, O, U, H, K, L, M, N, P, W。
元音字母的读音和英语的不同：
A 读作"ah"
E 读作"eh"
I 读作"ee"
O 读作"oh"
U 读作"oo"
一般地，夏威夷语里的"W"读起来像英语的"V"。
辅音遇到元音时，会和元音一起发音，如，"H"和元音字母的组合会读作：
Ha读作"Hah"
He读作"Heh"
Hi读作"Hee"
Ho读作"Hoh"
Hu读作"Hoo"
奥金那（okina）是一个类似于撇号（'）的符号，它用来分隔音节。奥金那（okina）也叫停顿，只在两个元音之间出现。以夏威夷语为母语的人和较传统的人在说或写夏威夷语时会随时添加这个符号。奥金那（okina）虽然不一定会出现在印刷品和互联网上，但会出现在各大夏威夷语报纸和许多书中。比如，Lanai 这个单词，如果不用停顿符号的话读作"Lah-nigh"，用了停顿符号之后写成"Lana‘I"，读作"Lah-nah-ee"。另一个例子是Molokai这个单词，如果不用停顿符号的话读作"Moh-loh-kai"(kai读起来像 sky里的ky)，用了停顿符号之后写成"Moloka‘I"读作"Moh-loh-kah-ee"。虽然两种读法都是正确的，但是你要注意有时停顿符号会改变单词的意思。
卡汉库（kahako）是一个看上去像破折号（－）的符号，它标在元音字母的上面，表示这是一个长元音，要比正常读音拖长一点，这个差别很小，往往很难把握。
Wednesday, August 19, 2020
Tuesday, August 23, 2016
Characteristics of Musical Keys
Characteristics of Musical Keys
From: http://biteyourownelbow.com/keychar.htm
Also see:
为什么钢琴曲不全用 C 大调或 a 小调？
乐理里面调有什么用？
This document contains a selection of information from the Internet about the emotion or mood associated with musical keys. It is not complete nor does it include information found only in print sources.
Emotion and musical pitch
|| Color and musical pitch
Emotion and musical pitch
From http://www.music-cog.ohio-state.edu/Music838/exam_questions_answers.html What is meant by a "key characteristic?"
The association of certain musical key signatures with a specific subjective quality or emotion. e.g., E major as "bright & piercing."
From http://www2.hmc.edu/~alves/justkeys.html
Many theoretical works of the eighteenth century explicitly assign certain affectations or emotional characteristics to different keys. Though these writings often contradict each other as to what these characteristics actually are, it is well known that many composers carefully chose keys for similar affectations throughout their lives. To Mattheson, for example, D major was "somewhat shrill and stubborn," while to Rousseau it was suited to "gaiety or brilliance."
From http://www.wmich.edu/mus-theo/courses/keys.html
From Christian Schubart's Ideen zu einer Aesthetik der Tonkunst (1806) translated by Rita Steblin in A History of Key Characteristics in the 18th and Early 19th Centuries. UMI Research Press (1983).
From http://www.wu-wien.ac.at/earlym-l/logfiles/em.2001-03
Key or mode descriptions from Charpentier's Regles de Composition ca. 1682
From http://web.archive.org/web/20050419162711/http://www.win.net/~pelerin/music/science/music5.html (archived version of this site
Scroll down to the section titled Key Characteristics
Key Characteristics
"Today many musicians claim to hear the different characteristics very clearly, and associate them with the emotional quality of the music. They will tell us that music played in the "open" key of C major---with neither flats nor sharps in the key signature---sounds strong and virile; played in the key of G, with one sharp, it sounds brighter and lighter; in D, with two sharps, even more so; and so on. Every additional sharp in the key signature is supposed to add to the brightness and sparkle of the music, while every flat contributes softness, pensiveness, and even melancholy.
From the English translation of Helmholtz's Tonempfindungen:
Color and musical pitch
http://www.harmonics.com/lucy/lsd/colors.html: Pitch, colour, Scriabian, and others by Charles E. H. Lucy
an attempt to make a "connection through mathematics and physics"
He states that in addition to Scriabin, "Berlioz, Debussy and Wagner were also interested in music and colour and Rimsky-Korsakov considered C as white."
This site includes Scribians, The Rosicrucian Order's, and Charles Fourier's color charts for musical pitches.
Keys and Colors: Is There a Connection? by Gail Smith
Includes Amy Beach's list of key colors
From http://rhythmiclight.com/archives/ideas/modetoshade.html
From Frank Popper, Origins and Development of Kinetic Art, 1968:
p. 157-8: Scriabin held that each mode corresponded to a particular shade of colour, and each modulation to a nuance of this shade.
From Tom Douglas Jones, The Art of Light & Color, 1972:
p. 102: Beethoven is said to have called B minor the black key. Schubert likened E minor "unto a maiden robed in white with a rose-red bow on her breast." One Russion composer said, "Rimsky-Korsakoff and many of us in Russia have felt the connection between colors and sonorities. Surely for everybody sunlight is C major and cold colors are minors. And F-sharp is decidedly strawberry red!" Of his subtle compositions Debussy wrote: "I realized that music is very delicate, and it takes, therefore, the soul at its softest fluttering to catch these violet rays of emotion."
p. 103: Dr. D.S. Myers, a psychologist who talked with Scriabin, said, “Sriabin’s attention was first seriously drawn to his colored hearing owing to an experience at a concert in Paris, where sitting next to his fellow countryman and composer Rimsky-Korsakoff, he remarked that the piece to which they were listening (in D major) seemed to him yellow; whereupon his neighbor replied that to him, too, the color seemed golden. Scriabin has since compared with his compatriot and with other musicians the color effects of other keys, especially B, C major, and F-sharp major, and believes a general agreement to exist in this respect. He admits, however, that whereas to him the key of F-sharp major appears violet, to Rimsky-Korsakoff it appears green; but this derivation he attributed to an accidental association with the color of leaves and grass arising from the frequent use of this key for pastoral music. He allows that there is some disagreement as to the color effect of the key of G major. Nevertheless, as is so universally the case with the subjects of synesthesia, he believes that the particular colors which he obtains must be shared by all endowed with colored hearing."
From http://www.thereminvox.com/story/28?page=5
Athanasius Kircher system of correspondences between musical intervals and colors
octave: green
seventh: blue-violet
major: sixth fire red
minor: sixth red-violet
augmented fifth: dark brown
fifth: gold
diminished fifth: blue
fourth: brown-yellow
major third: bright red
minor third: gold
major wholetone: black
minor second: white
minor wholetone: grey
(See this website for more systems like this)
Scriabin's system of colored musical keys:
C# -- Purple
F# -- Bright Blue/Violet
B -- Blue
E -- Sky Blue
A -- Green
D -- Yellow
G -- Orange
C -- Red
F -- Deep Red
Bb -- Rose/Steel
Eb -- Flesh
Ab -- Violet
Db -- Purple (same as C#)
Gb -- Bright Blue/Violet (same as F#)
From http://www.composersdatebook.org/archives/090400.shtml (this link no longer works 05/28/09)
Two Russian composers were fascinated with the idea of linking certain musical keys to particular colors - but came up with completely different associations. According to Nikolai Rimsky-Korsakov, the key of C Major was "white," while Alexander Scriabin said it was "red." The two composers did agree, however, that the key of D major was "yellow" and that Eb Major was either "bluish-grey" or "steely."
Here's a list of other key signatures, with Rimsky-Korsakov's color choice given first, then Scriabin's color association:
G Major (Brownish-gold/Orange-rose)
A Major (Rosy/Green)
E Major (SapphireBlue/Bluish-white)
B Major (Dark Blue/Bluish-white)
F# Major (Grayish-green/Bright blue)
Db Major (Dusky/Violet)
Ab Major (Grayish-violet/Purple-violet)
E Major (Green/Red)
From http://glenngould.org/f_minor/msg08707.html
"... descriptions of keys from various writings ... (quoted from a book by Rita Steblin):
C Major:
"Completely pure" (Schubart, 1784)
"Cheerful and pure" (Knecht, 1792)
"State of nature, virginal chastity and purity, lovely innocence of youth" (Heinse, 1795)
"Naturalness and nobility" (Gervasoni, 1812)
"Cheerful and pure; innocence and simplicity" (Weikert, 1827)
"Simple, unadorned" (Schumann, 1835)
"Concerning the physical expression of this key, it appears to be completely pure" (Schilling, 1835)
C-sharp minor:
"Penitential lamentation, intimate conversation with God" (Schubart, 1784)
"Despair" (Knecht, 1792; Schrader, 1827; Weikert, 1827; Ebhardt, 1830)
D major:
"Gay things and grandeur" (Rousseau, 1691)
"Joyful and very militant" (Charpentier, 1692)
"Pleasant, joyful, bright, songs of victory" (Masson, 1697)
"Songs of mirth and rejoicing; grandeur and magnificence" (Rameau, 1722)
"Martial ardour" (Hawkins, 1776)
"The key of triumph, of Hallelujahs, of war-cries, of victory-rejoicing" (Gathy, 1835)
Eb minor:
"Horrible, frightful" (Charpentier, 1692)
"Feelings of the anxiety of the soul's deepest distress, of brooding despair, of blackest depression, of the most gloomy condition of the soul. Every fear, every hesitation of the shuddering heart, breathes out of horrible Eb minor. If ghosts could speak, their speech would approximate this key" (Schubart, 1784)
E major:
"Uplifting" (Junker, 1777)
"Bright" (Gretry, 1797)
Bb minor:
"Gloomy and terrible" (Charpentier, 1692)
"Mournful songs" (Rameau, 1722)
"Preparation for suicide sounds in this key" (Schubart, 1784)
From: http://biteyourownelbow.com/keychar.htm
Also see:
为什么钢琴曲不全用 C 大调或 a 小调？
乐理里面调有什么用？
This document contains a selection of information from the Internet about the emotion or mood associated with musical keys. It is not complete nor does it include information found only in print sources.
Emotion and musical pitch
From http://www.music-cog.ohio-state.edu/Music838/exam_questions_answers.html What is meant by a "key characteristic?"
The association of certain musical key signatures with a specific subjective quality or emotion. e.g., E major as "bright & piercing."
From http://www2.hmc.edu/~alves/justkeys.html
Many theoretical works of the eighteenth century explicitly assign certain affectations or emotional characteristics to different keys. Though these writings often contradict each other as to what these characteristics actually are, it is well known that many composers carefully chose keys for similar affectations throughout their lives. To Mattheson, for example, D major was "somewhat shrill and stubborn," while to Rousseau it was suited to "gaiety or brilliance."
From http://www.wmich.edu/mus-theo/courses/keys.html
From Christian Schubart's Ideen zu einer Aesthetik der Tonkunst (1806) translated by Rita Steblin in A History of Key Characteristics in the 18th and Early 19th Centuries. UMI Research Press (1983).
| C major | Completely pure. Its character is: innocence, simplicity, naïvety, children's talk. |
| C minor | Declaration of love and at the same time the lament of unhappy love. All languishing, longing, sighing of the love-sick soul lies in this key. |
| Db major | A leering key, degenerating into grief and rapture. It cannot laugh, but it can smile; it cannot howl, but it can at least grimace its crying.--Consequently only unusual characters and feelings can be brought out in this key. |
| D major | The key of triumph, of Hallejuahs, of war-cries, of victory-rejoicing. Thus, the inviting symphonies, the marches, holiday songs and heaven-rejoicing choruses are set in this key. |
| D minor | Melancholy womanliness, the spleen and humours brood. |
| D# minor | Feelings of the anxiety of the soul's deepest distress, of brooding despair, of blackest depresssion, of the most gloomy condition of the soul. Every fear, every hesitation of the shuddering heart, breathes out of horrible D# minor. If ghosts could speak, their speech would approximate this key. |
| Eb major | The key of love, of devotion, of intimate conversation with God. |
| E major | Noisy shouts of joy, laughing pleasure and not yet complete, full delight lies in E Major. |
| F major | Complaisance & calm. |
| F minor | Deep depression, funereal lament, groans of misery and longing for the grave. |
| F# major | Triumph over difficulty, free sigh of relief utered when hurdles are surmounted; echo of a soul which has fiercely struggled and finally conquered lies in all uses of this key. |
| F# minor | A gloomy key: it tugs at passion as a dog biting a dress. Resentment and discontent are its language. |
| G major | Everything rustic, idyllic and lyrical, every calm and satisfied passion, every tender gratitude for true friendship and faithful love,--in a word every gentle and peaceful emotion of the heart is correctly expressed by this key. |
| G minor | Discontent, uneasiness, worry about a failed scheme; bad-tempered gnashing of teeth; in a word: resentment and dislike. |
| Ab major | Key of the grave. Death, grave, putrefaction, judgment, eternity lie in its radius. |
| Ab minor | Grumbler, heart squeezed until it suffocates; wailing lament, difficult struggle; in a word, the color of this key is everything struggling with difficulty. |
| A major | This key includes declarations of innocent love, satisfaction with one's state of affairs; hope of seeing one's beloved again when parting; youthful cheerfulness and trust in God. |
| A minor | Pious womanliness and tenderness of character. |
| Bb major | Cheerful love, clear conscience, hope aspiration for a better world. |
| Bb minor | A quaint creature, often dressed in the garment of night. It is somewhat surly and very seldom takes on a pleasant countenance. Mocking God and the world; discontented with itself and with everything; preparation for suicide sounds in this key. |
| B major | Strongly coloured, announcing wild passions, composed from the most glaring coulors. Anger, rage, jealousy, fury, despair and every burden of the heart lies in its sphere. |
| B minor | This is as it were the key of patience, of calm awaiting ones's fate and of submission to divine dispensation. |
From http://www.wu-wien.ac.at/earlym-l/logfiles/em.2001-03
Key or mode descriptions from Charpentier's Regles de Composition ca. 1682
| C major: C minor: D major: D minor: Eb major: E major: E minor: F major: F minor: G major: G minor: A major: A minor: B major: B minor: Bb major: Bb minor: |
gay and warlike obscure and sad joyous and very warlike serious and pious cruel and hard quarrelsome and boisterous effeminate, amorous, plaintive furious and quick-tempered subjects obscure and plaintive serious and magnificent serious and magnificent joyful and pastoral tender and plaintive harsh and plaintive solitary and melancholic magnificent and joyful obscure and terrible |
From http://web.archive.org/web/20050419162711/http://www.win.net/~pelerin/music/science/music5.html (archived version of this site
Scroll down to the section titled Key Characteristics
Key Characteristics
"Today many musicians claim to hear the different characteristics very clearly, and associate them with the emotional quality of the music. They will tell us that music played in the "open" key of C major---with neither flats nor sharps in the key signature---sounds strong and virile; played in the key of G, with one sharp, it sounds brighter and lighter; in D, with two sharps, even more so; and so on. Every additional sharp in the key signature is supposed to add to the brightness and sparkle of the music, while every flat contributes softness, pensiveness, and even melancholy.
From the English translation of Helmholtz's Tonempfindungen:
| C major: Db major: E major: E minor: F major: F minor: F# major: Gb major: |
Pure, certain, decisive; expressive
of innocence, powerful resolve, manly earnestness and deep religious
feeling Fullness of tone, sonority and euphony Joy, magnificence, splendour; brightest and most powerful key Grief, mournfulness, restlessness Peace, joy, light, passing regret, religious sentiment Harrowing, melancholy Brilliant, very clear Softness, richness |
Color and musical pitch
http://www.harmonics.com/lucy/lsd/colors.html: Pitch, colour, Scriabian, and others by Charles E. H. Lucy
an attempt to make a "connection through mathematics and physics"
He states that in addition to Scriabin, "Berlioz, Debussy and Wagner were also interested in music and colour and Rimsky-Korsakov considered C as white."
This site includes Scribians, The Rosicrucian Order's, and Charles Fourier's color charts for musical pitches.
Keys and Colors: Is There a Connection? by Gail Smith
Includes Amy Beach's list of key colors
From http://rhythmiclight.com/archives/ideas/modetoshade.html
From Frank Popper, Origins and Development of Kinetic Art, 1968:
p. 157-8: Scriabin held that each mode corresponded to a particular shade of colour, and each modulation to a nuance of this shade.
From Tom Douglas Jones, The Art of Light & Color, 1972:
p. 102: Beethoven is said to have called B minor the black key. Schubert likened E minor "unto a maiden robed in white with a rose-red bow on her breast." One Russion composer said, "Rimsky-Korsakoff and many of us in Russia have felt the connection between colors and sonorities. Surely for everybody sunlight is C major and cold colors are minors. And F-sharp is decidedly strawberry red!" Of his subtle compositions Debussy wrote: "I realized that music is very delicate, and it takes, therefore, the soul at its softest fluttering to catch these violet rays of emotion."
p. 103: Dr. D.S. Myers, a psychologist who talked with Scriabin, said, “Sriabin’s attention was first seriously drawn to his colored hearing owing to an experience at a concert in Paris, where sitting next to his fellow countryman and composer Rimsky-Korsakoff, he remarked that the piece to which they were listening (in D major) seemed to him yellow; whereupon his neighbor replied that to him, too, the color seemed golden. Scriabin has since compared with his compatriot and with other musicians the color effects of other keys, especially B, C major, and F-sharp major, and believes a general agreement to exist in this respect. He admits, however, that whereas to him the key of F-sharp major appears violet, to Rimsky-Korsakoff it appears green; but this derivation he attributed to an accidental association with the color of leaves and grass arising from the frequent use of this key for pastoral music. He allows that there is some disagreement as to the color effect of the key of G major. Nevertheless, as is so universally the case with the subjects of synesthesia, he believes that the particular colors which he obtains must be shared by all endowed with colored hearing."
From http://www.thereminvox.com/story/28?page=5
Athanasius Kircher system of correspondences between musical intervals and colors
octave: green
seventh: blue-violet
major: sixth fire red
minor: sixth red-violet
augmented fifth: dark brown
fifth: gold
diminished fifth: blue
fourth: brown-yellow
major third: bright red
minor third: gold
major wholetone: black
minor second: white
minor wholetone: grey
(See this website for more systems like this)
Scriabin's system of colored musical keys:
C# -- Purple
F# -- Bright Blue/Violet
B -- Blue
E -- Sky Blue
A -- Green
D -- Yellow
G -- Orange
C -- Red
F -- Deep Red
Bb -- Rose/Steel
Eb -- Flesh
Ab -- Violet
Db -- Purple (same as C#)
Gb -- Bright Blue/Violet (same as F#)
From http://www.composersdatebook.org/archives/090400.shtml (this link no longer works 05/28/09)
Two Russian composers were fascinated with the idea of linking certain musical keys to particular colors - but came up with completely different associations. According to Nikolai Rimsky-Korsakov, the key of C Major was "white," while Alexander Scriabin said it was "red." The two composers did agree, however, that the key of D major was "yellow" and that Eb Major was either "bluish-grey" or "steely."
Here's a list of other key signatures, with Rimsky-Korsakov's color choice given first, then Scriabin's color association:
G Major (Brownish-gold/Orange-rose)
A Major (Rosy/Green)
E Major (SapphireBlue/Bluish-white)
B Major (Dark Blue/Bluish-white)
F# Major (Grayish-green/Bright blue)
Db Major (Dusky/Violet)
Ab Major (Grayish-violet/Purple-violet)
E Major (Green/Red)
From http://glenngould.org/f_minor/msg08707.html
"... descriptions of keys from various writings ... (quoted from a book by Rita Steblin):
C Major:
"Completely pure" (Schubart, 1784)
"Cheerful and pure" (Knecht, 1792)
"State of nature, virginal chastity and purity, lovely innocence of youth" (Heinse, 1795)
"Naturalness and nobility" (Gervasoni, 1812)
"Cheerful and pure; innocence and simplicity" (Weikert, 1827)
"Simple, unadorned" (Schumann, 1835)
"Concerning the physical expression of this key, it appears to be completely pure" (Schilling, 1835)
C-sharp minor:
"Penitential lamentation, intimate conversation with God" (Schubart, 1784)
"Despair" (Knecht, 1792; Schrader, 1827; Weikert, 1827; Ebhardt, 1830)
D major:
"Gay things and grandeur" (Rousseau, 1691)
"Joyful and very militant" (Charpentier, 1692)
"Pleasant, joyful, bright, songs of victory" (Masson, 1697)
"Songs of mirth and rejoicing; grandeur and magnificence" (Rameau, 1722)
"Martial ardour" (Hawkins, 1776)
"The key of triumph, of Hallelujahs, of war-cries, of victory-rejoicing" (Gathy, 1835)
Eb minor:
"Horrible, frightful" (Charpentier, 1692)
"Feelings of the anxiety of the soul's deepest distress, of brooding despair, of blackest depression, of the most gloomy condition of the soul. Every fear, every hesitation of the shuddering heart, breathes out of horrible Eb minor. If ghosts could speak, their speech would approximate this key" (Schubart, 1784)
E major:
"Uplifting" (Junker, 1777)
"Bright" (Gretry, 1797)
Bb minor:
"Gloomy and terrible" (Charpentier, 1692)
"Mournful songs" (Rameau, 1722)
"Preparation for suicide sounds in this key" (Schubart, 1784)
Monday, February 15, 2016
Video Recording from screen
I posted an article on video editing before. This one is about recording video from computer screen with sound.
The Software
The software used is freeware Camstudio from camstudio.org. It captures both motion picture from selected screen area and sound.
Capture Audio
Even if you put on headphone, the sound can be captured.
File Size
The resulted avi file may be huge, e.g., about 1.6GB for 2.5 minutes. That's about 10MB/second. To shrink the size, it also contains a SWF producer to convert AVI to SWF format. Another option is to use VideoPad video editor, which can convert the avi file to a much smaller avi file (HD 1080) of about 90MB, or about 0.5MB/second. That's 20 times reduction in size. Quality does not degrade noticeably.
Recommended Settings
- Options -> Video Options, set Quality to 100, Framerates to 50 frames/second (use slider at bottom).
- Options -> check "Record Audio From Microphone"
- Options -> Program Options -> Name of AVI file (Automatic file naming)
Possible Problems
- Sometimes if audio is not recorded, you may need some configuration to use the Stereo Mix option. See: Audio: record from Microphone.
- Error message: "File Creation Error. Unable to rename/copy audio file". This happens when the AVI video is long and video size exceeds 2GB, which is the size limit of a AVI file. The solution is to decrease recording frame rate, e.g., from default 200frames/second to about 25 frames/second. See here.
The Software
The software used is freeware Camstudio from camstudio.org. It captures both motion picture from selected screen area and sound.
Capture Audio
Even if you put on headphone, the sound can be captured.
File Size
The resulted avi file may be huge, e.g., about 1.6GB for 2.5 minutes. That's about 10MB/second. To shrink the size, it also contains a SWF producer to convert AVI to SWF format. Another option is to use VideoPad video editor, which can convert the avi file to a much smaller avi file (HD 1080) of about 90MB, or about 0.5MB/second. That's 20 times reduction in size. Quality does not degrade noticeably.
Recommended Settings
- Options -> Video Options, set Quality to 100, Framerates to 50 frames/second (use slider at bottom).
- Options -> check "Record Audio From Microphone"
- Options -> Program Options -> Name of AVI file (Automatic file naming)
Possible Problems
- Sometimes if audio is not recorded, you may need some configuration to use the Stereo Mix option. See: Audio: record from Microphone.
- Error message: "File Creation Error. Unable to rename/copy audio file". This happens when the AVI video is long and video size exceeds 2GB, which is the size limit of a AVI file. The solution is to decrease recording frame rate, e.g., from default 200frames/second to about 25 frames/second. See here.
Thursday, October 29, 2015
复兴路上工作室
复兴路上工作室 (baidu baike) made some funny and good videos about China.
(Music) videos:
十三五之歌 The 13 WHAT - A song about China's 13th 5-year-plan (version with Chinese title)
跟着习大大走之美国篇：铺展绚丽中国梦 (When China met Carolina)
跟着大大走——巴基斯坦篇
跟着大大走——万隆会议篇
跟着大大走之俄罗斯篇
跟着大大走之博鳌篇
中国共产党与你一起在路上
领导人是怎样炼成的
More information:
《十三五之歌》流行 中国外宣新尝试
(Music) videos:
十三五之歌 The 13 WHAT - A song about China's 13th 5-year-plan (version with Chinese title)
跟着习大大走之美国篇：铺展绚丽中国梦 (When China met Carolina)
跟着大大走——巴基斯坦篇
跟着大大走——万隆会议篇
跟着大大走之俄罗斯篇
跟着大大走之博鳌篇
中国共产党与你一起在路上
领导人是怎样炼成的
More information:
《十三五之歌》流行 中国外宣新尝试
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