“New folk music” is a new term introduced by scholars in modern times, and the purpose of this article is to investigate relate issues that “folk music” is transformed into “new folk music” since silk road had been opened during the times of Two Han Dynasty. This work will base on the concept of special term as “new folk music” to interpret the scenario of transition when musical style has transformed after Hu music and new folk music were blended. Most of all, when Tang Dynasty was founded it helped nurture the formation of new folk music. As it comes to the time of Emperor Syuanzong it has accumulated to the representative new folk music that combines Hu and folk music, demonstrated in expression form as “dual-departmental performance” to display the formation of court music and dance. As an overview of evolution of Chinese and western musical history, it is a trend of inevitability when times change, facilitating changes to musical style. For investigation of this topic, it helps to interpret the evolution of musical style into “new folk music” as it turns into oneness through exchange and blending when silk road was opened, and the scenario of Chinese musical development was being supplemented with musical elements from aboriginal minorities. From the aspect of transformation of musical style to observe the approach of development for the prime and summit of Tang music, “new folk music” is, indeed, the novel musical that prospered style after music and dance of “10-departmental musical system”in Sue and Tang Dynasty. At the same time, it had, as well, changed the development of artistic and entertaining musical style, and affected the subsequent progress of music. For composition of this article, it is based on the fact that related studies of “new folk music” have not been awarded with due regard, and also because that it is considered as an important issue hardly to be denied in Chinese musical history. During As we observe the flourishing days of glory and magnificence in Tang Dynasty, “folk music” is reckoned to be of less critical issue, and it can barely be correlated to related topics as “10-departmental music,” “dual-departmental performance,” “operatic circle,” and “workshop of music.” Nonetheless, the transformation of musical style regarding “folk music” is considered rather important in Chinese musical history, and is a worthy topic for investigation and it should be provided with a proper history positioning. As for the most critical stage for development of “new folk music,” it is reckoned to be the period after Ang-Shih Rebellion to the end of Tang Dynasty, aside from the fast development during the heyday of Tang Dynasty. After the rebellion, the situation created from political and economic chaos had even more stimulated and paced up the development of “new folk music,” so that the focus of musical development had turned from the court previously to that of civilian development. In fact, “new folk music” has effected a complete fresh start inside out, and demonstrated in diversified musical arts of Song Dynasty at later days. As this work explores the evolution of multi-departmental music at Sue and Tang Dynasty to plebian music of diversity during Song Dynasty, it involves the related issues as the creation and impact of “new folk music,” whereas its development network is most worthy for investigation.