| Abstract | 第4页 |
| Research Topic and Background | 第7-8页 |
| Introduction and Definitions | 第8-14页 |
| Introduction of Traditional Chinese Music Ensembles and the Modern-Day Chinese Orchestra | 第8-11页 |
| An Experimental Start:the 1950s to 1970s | 第8-9页 |
| During and Then After the Cultural Revolution | 第9-10页 |
| The Next Lap: 1980s Onwards | 第10-11页 |
| The Concept and Definition of "New Folk Music" | 第11-14页 |
| Acceptance and Popularity of New Folk Music | 第14-28页 |
| Introduction of the Case Study of the "12 Girls Band" | 第14-15页 |
| Reasons for its Popularity Outside China | 第15-24页 |
| Pop Culture and Rise of Chinoserie: "Rhapsody of China" | 第15-19页 |
| Effect of Chinoserie on New Folk Music | 第19页 |
| Success of its Marketing Strategy | 第19-24页 |
| Genius and Foresight of Musical Producer Wang Xiaojing | 第20页 |
| Solid Publicity Efforts | 第20-21页 |
| A Brand-Naming Finesse and Commercial Organisation | 第21-24页 |
| Naming of the "12 Girls Band" | 第22页 |
| The Logo Aspect | 第22-23页 |
| Utilising New Technology to Increase Accessibility to Consumers | 第23-24页 |
| Reasons for its Popularity in Mainland China | 第24-28页 |
| Success in Foreign Lands and Resultant Media Attention | 第24页 |
| Changes in Mainland China's Economic Situation | 第24-25页 |
| Changes in Mainland China's Culture | 第25-26页 |
| Changes in Aesthetic Taste of General Public | 第26页 |
| Support and Popularity Apart from Artistic Content | 第26-28页 |
| Achievements and Shortcomings of New Folk Music | 第28-46页 |
| Artistic Content of New Folk Music as Represented by "12 Girls Band" | 第28-40页 |
| Stumbling Stones on the Path of New Folk Music's Development | 第28-34页 |
| Lack of Pertinence with Chinese Tradition | 第28-34页 |
| Misleading and Unbalanced Representation of Traditional Chinese Music Instruments | 第31-32页 |
| Limited and Immature Supply of Quality Repertoire for New Folk Music | 第32-34页 |
| "Bond":A Foreign Counterpart to the "12 Girls Band" | 第34-36页 |
| Compositions and Musical Style | 第34-35页 |
| Style of Performance | 第35页 |
| Marketing Strategy | 第35-36页 |
| Naming of "Bond" | 第36页 |
| "Bond"ing with Fans with Giveaways | 第36页 |
| Helping New Folk Music to Attain a Higher Level of Artistic Content | 第36-40页 |
| Careful Consideration about Integration of Foreign Influences Including Electronic Accompaniment | 第37-38页 |
| A Suggestion for New Folk Music Ensemble Configuration | 第38-39页 |
| Improving New Folk Music Repertoire Range and Quality | 第39-40页 |
| Value of New Folk Music's Influence on Traditional Chinese Orchestral and Instrumental Music | 第40-46页 |
| Accessibility | 第42-43页 |
| Widespread Popularity | 第43-44页 |
| Marketability | 第44-46页 |
| Conclusion:Applying New Folk Music's Achievements to Traditional Chinese Music | 第46-48页 |
| Works Cited | 第48-50页 |
