Among the relics related to embroidery, the oldest are the chains of short pieces excavated from Hwangnamdaechong Tomb in Gyeongju during the Silla Dynasty and the Royal Tomb of King Muryeong in the Baekje Dynasty.

Although the artifact was excavated in short pieces, it is a rare artifact that shows that the most commonly used technique in East Asia was used during the Three Kingdoms Period. In addition, the Four Seasons of Embroidery, which are presumed to have been the Goryeo Dynasty, include Byeongpung and Amita Yeorado. The Amitabha Buddha was a Buddha who led the souls of the dead to paradise while staying in the paradise, and it is estimated that Buddhism flourished greatly in the Goryeo Dynasty due to the belief of the patriots.

During the Joseon Dynasty, the number was embroidered on the wardrobe, red robe, robe, rank badge, and rank badge. There are very few examples of embroidered dresses, embroidered skirts, jeogori, and incense burners. Buddhist embroidery has Lyrics, table manners, and suBul. Among them, Yongmunja Sutak, No. 244 of Important Folklore Cultural Heritage, housed in the Seongbo Museum of Seonamsaeng, is highly regarded for its value. It is embroidered on a very large scale with special techniques and colorful colors.

Hwang Soon-hee, a master of embroidery, was born in Yeocheon, South Jeolla Province, in 1949 and was taught by her mother by adding her hobby to embroidery during the elementary school's Lyrics class. At the age of 20, he studied Oriental embroidery at the embroidery lab in Jeongneung, Seoul, and then studied it to Han Yeong-hwa (currently the holder of intangible cultural assets of Seoul). Some of the works include Yongbo and Hunbae, Ilwol Oakdo, Sipjangsaengdo, Hwarot and Sui Norigae. In addition, many excellent works were produced through a long study of royal embroidery.

Whistle-jobs means fast-paced ones. The name Whistle Japga was given as the relative meaning of the long japga. The sit-down songs of the Jitchang line, such as the Gyeonggido and Whistle Japga, were developed by singers in and around Seoul, focusing on the Manrijae and Cheongpa Island, which were called the Four Seasons of Seoul, during the late Joseon Dynasty.

When the miscellaneous singers sang, they sang the Lyrics and sijo first, followed by a long jagga, a male jagga, and a Whistle jagga before ending the game with a popular folk song. In other words, it can be seen that Whistle Japga was mainly a song that was sung at the end because the humorous Lyrics of Whistle Japga played an exciting role. The Lyrics of Whistlejapga are usually variations of the long-shaped sijo, which are tightly woven on the stir-frying taryeong rhythm. For this reason, Whistle Japga is included as a branch of the private poem.

Whistling is characterized by humorous Lyrics. Listing the Lyrics quickly has the effect of making you focus more on the Lyrics. The Lyrics of Whistling Japga evoke laughter by exaggerating, enlarging, enumerating, and reversing. Some of the current Hwimori jagga include "Gombo Taryeong," "Gimmaejabong," "Manhakcheonbong," "Gisaeng Taryeong," "Bawi Taryeong," "Bareung Taryeong," "Byeongjeong Taryeong," "Yook Chilwol-ryun Day," "Soongeomtaryeong," and "Bidan Taryeong."

It is common for a whirling singer to sit alone and sing while playing janggu. The rock taryeong is a mixture of song and Changbu taryeongjo, and the silk taryeong is read like a book, and is sung in the sound of Maengindeokdamgyeong at the end. In addition, Gisaengtaryeong, Maengkongtaryeong and Rocktaryeong are stir-fried taryeong.

Currently, Kim Kwon-soo, the owner of the Whistlejacka entertainment show, continues to perform and pass on Korean traditional music.

Jeongseon Arirang is also known as "Arari," a folk song unique to Jeongseon, which contains the living feelings of the residents of Jeongseon Mountain Village.

It is said that Jeongseon Arirang was the first time that the scholars who served the Goryeo Dynasty began to sing poems about loyalty and longing for their hometowns while hiding in Jeongseon when Goryeo collapsed.

The Lyrics are mainly composed of love between men and women, separation, sinse-tan, poetry, or satire, but the Lyrics and Lyrics vary from one song to another, such as the sorrow and sorrow of a nation without a country during Japanese colonial era. Jeongseon Arirang has an appeal that the contents of the editorial are sad and sad, the woven parts clearly convey the editorial, and the drooping parts scream.

If Jindo Arirang is upbeat, exciting, and its craftiness stands out, Miryang Arirang is stiff and masculine. In comparison, Jeongseon Arirang has a simple but female sigh in its calm flow.

Currently, Yoo Young-ran, Kim Nam-gi, Kim Hyung-jo, and Kim Gil-ja are active as holders of Jeongseon Arirang, and Choi Bong-chul is recognized as honorary holders.

Yangju Sonori Gut is also known as Sogut, Sogeum Gut, Soeogut, Sonoreum Gut, and Mabutaryeong Gut to pray for family prosperity and good harvests during the Lunar New Year and Ipchun.

Some say that the origin of Yangju Sowonolgut was derived from Gamaksa Temple, which is regarded as a mountain god in the Yangju area, from a good harvest, from a good harvest, from a good harvest, from a royal rite, and from the entertainment of the rite, but no exact origin was revealed.

However, it is regarded as a game that originated from Somec Nori, which worships the cows, horses, and the sky, and was played not only in Yangju but also in Seoul, Gyeonggi, Gangwon, Chungcheong, Yellow Sea, and South Pyongan Province.

The oxenolgut is not performed alone, but is played following the jeseokgeori because it is similar in the nature of farming rituals for cattle and praying for their offspring and longevity.

At the end of the Jeseok Street, fill a wooden head in front of the jango with beans and stick a dried pollack with a dried pollack to make the sogo stick a stake. Jo-mu, who plays the musician and jango, sits in the yard, and when the gutgeori rhythm rings, Ju-ja, who has white ginseng in her white cone, stands at the end of the floor with a stone fan in her right hand.

The calf enters first and plays, then heads to the gate to guide the horsemen and cows. Wrap a rubber band with straw to make a head, and with the stone folded in half, five to six people enter and pretend to be cows. A calf plays with a straw mat on its back. The horse-riding one horseman wears a black vest and a navy abalone, a three-shin fan in his right hand and a reins in his left hand.

The stage of Gut will be moved from the floor to the yard, and the main character will also be changed from shaman to horseman. Gut consists of a conversation between a shaman and a horseman, a horseman's taryeong and words of blessing, a horseman's dance and movement, and a cow's taryeong has a long but sophisticated commoner lyric.

The sound of oxenolgut starts with (Who's looking for me) (Treasure No Jung-gi) (Taemultaryeong) (Mabu Colonel) (Mabu Colonel) (Cutting the head of a cow) (Cutting oxen) (Teaching oxen) (Taeryeong) (Gullet Tare of cows) (Gulle Tare of cows) (Taryeong))

Yangjuso Nori Gut is the largest play among other rites, with the Lyrics of the rite in a sophisticated commoner style.

Goseong Nongyo has been handed down in Goseong, Gyeongsangnam-do. Goseong Nongyo is mainly composed of farming sounds that begin from the end of the summer and is also called 'Dungji', which is the Gyeongsang-do dialect of rice planting.

Goseong Nongyo includes the sound of mochi, which is sung while steaming unknowns, the sound of planting rice seedlings, the sound of cutting barley, the sound of the boss singing when dried seaweed, and the sound of samsamgi sung by women, and the spinning wheel sung by spinning wheels.

The Lyrics of Goseong Nongyo are rich in the living emotions of farmers in this village, and it is full of local sentiment.

Goseong Nongyo is a song of Gyeongsang-do, which has a rough and tough Gyeongsang-do style. However, due to its geographical influence, it has a musical structure based on the Gyemyunjo melody of Jeolla-do.

Nongyo is a song sung by farmers to forget their fatigue and improve their efficiency from hard and busy work, also known as wild songs or farming sounds.

Yecheon Tongmyeong Nongyo is believed to have been started during the mid-Joseon Dynasty, as a farming song sung by farmers in Tongmyeong-ri, Yecheon-eup, Yecheon-gun, Gyeongsangbuk-do to relieve their hardships caused by hard labor when planting rice every year.

It consists of <Abu Reisuna나, which is sung during planting, <Sound of Help도, <Sound of Baby Maggie기, <Sound of Boss상, <Sound of Bangae Sori·, <Sound of Euyong Sori이용, and 부르는Bonghei이, which is sung on the way home from rice paddy. There are also "Samsamgi Song," "Bettle Song," and "Dohaetagi" sung by women.

Yecheon Tongmyeong Nongyo is characterized by the fact that both the sound of rice planting and rice paddies are slow, long-pull notes are written, and that when the song is held and received, the end of the front sound and the front of the back sound partially overlap, creating a dual creative effect.

Yecheon Tongmyeong Nongyo has a rural taste and simple taste, and the song and Lyrics are local.

Songseo literally refers to the sound of reading a book. Originally, reading sounds were used in Chinese Classics Schools. Reading ability is more like a shading or melodic singing depending on what kind of book you read. Among them, some of the musical melodies are sung by professional singers.

Sichang(singing poetry) or Songseo(recitation) by experts is limited to extremely limited articles. "Kwansan Yungma" is representative in the current traditional music in Sichang, and in the case of Songseo, there is "Jeokbyeokbu" left by Seodo Myeongchang Kim Jung-yeon, and "Chupunggambyeolgok," and "Samsulgi," passed down by Muk gye-wol. In addition, Yulchang materials are still left such as "Gyeongpo Daesi" and "Sipjaegyeong-yeong" sung by Kim Deok-soon. These poems originated from the recitation of Chinese poetry, and Songseo is based on Chinese reading and is a musical composition made by professional entertainers.

Meanwhile, Songseo passed down by ordinary people through Seodang education are being passed down in another line. Songseo and Yulchang originated from the past when scholars recited the Lyrics to study Chinese characters. Songseo and Yulchang of the general public are sung in a song in Chinese poems or classics, which were sung to the rhythm when reading in Seodang. In the case of reciting a poem in 5 of 7 rhythm, it is also known as Sichang. Songseo is more like a Seodo style sound with simple Yuljo giving mournful tone, and Yulchang has a normal consonant that indicates the high, low, and long sound, allowing anyone to make the same note.

Songseo and Yulchang designated as cultural assets of Gyeonggi-do may be regarded as cases that include both the sound of experts and the transmission of ordinary people. Han Byung-ok, the owner of the school, died on August 3, 2019, and Lee Seok-ki, an assistant instructor for successor training, is working on performances and transmission activities.

Shijochang refers to singing a song with the Lyrics of Sijo poem (Korean traditional poetry), also known as Sijo-si, Sidae-dan-ga.

The oldest record is a poem written by Lee Se-chun, a scholar of the "Seokbukjip" (pen-name: Seokbukjip) during the reign of King Yeongjo (r. 1724-1776). In the "Yu Yeji" and "Gura Cheolsageumjabo" published during the reign of King Sunjo (r. 1800-1834), Sijo's sheet music first appears. After that, due to the influence of the song, the composition of the poem was distributed and divided into local characteristics.

Naepoje sijo is a shijochang in northwestern Chungcheongnam-do. Naepo is presumed to have been named because it refers to Seosan, Dangjin, Yesan and Hongseong in Chungcheong Province.

The scale is composed of three-symmetric tones (a sad and mournful tone) and five-syllable tones (a clear and vigorous tone). The rhythm is not raised in the middle to maintain a sense of stability, and the end is dropped to leave a lingering impression, not falsetto, and a lot of decoration is used. Because they play a temporary instrument with a long or knee rhythm without an instrument, five beats are reduced in the end of the long and medium length.

Naepoje Sijo is a valuable piece of music that people have enjoyed singing for a long time.

The sound of bosori in Yongjeong-ri, Buyeo, is called hosang-sori, which means the death of a person who has lived in good fortune for a long time. The exact date of the song's beginning is unknown, but it is believed to have been handed down from a long time ago through Ha Un (the owner of the show).

Yongjeong-ri's bier sound is composed of various sounds, such as Jinsori, even-numbered, two-syllable, and self-sound. Among them, the bier is divided into two parts, and it is characterized by even-handedness in which the bier is exchanged. When the bier goes out, the slowest Jin-sori starts the even number. When one sound is over, another sound begins, not the chorus. In other words, there is a overlapping sound in the form of giving and receiving, which makes it a overlapping sound. Because they sing the other two Lyrics, their high singing ability is displayed, and their sad and solemn musicality stands out. These even-handed sounds are found only in Buyeo and Gongju, and are characteristic sounds of Baekje culture.

The sound of the bier in Yongjeong-ri, Buyeo, is unique with its majestic sound that shows the whole community's overcoming of grief over death.

The sound of bier is called dalgong sound, while the sound of bier in Bonghyeon-ri, Gongju, is called dalgong sound. Gongju-si was the administrative center of Chungcheong-do during the Joseon Dynasty, and the custom was developed due to the tradition of Yangban-gun's failure. In Gongju, a bier managed by the government office, Yeokdamjaeng, was introduced, and the sound of Dalgong, a princess, was passed down in Bonghyeon-ri 200 years ago.

Gongju's bier sound is composed of bier sound, sinmun sound, component phlegm sound, and dalgong sound. There are eight kinds of bier sounds, including the sound of the main gim, the chorus of the chorus, and the sad and long jinsori of Chungcheong-do dialect, and the lyrical Lyrics of the folk songjo are the main ones. The sound of phlegm gathering the soil of the tomb is the sound of scrotum and frequent sounds of gin and fast bier. The sound of dalgong is composed of four types: the sound of donation, jindalgong, jajundalgong, and saddle sound.

Bonusori in Bonghyeon-ri, Gongju, has been handed down from more than 200 years ago and has an important meaning.

Pansori is a traditional Korean genre of epic musical storytelling in which a sorikkun (single performer) presents a long narrative work comprising sori (singing), aniri (Lyrics), and neoreumsae (gestures) to the accompaniment of a gosu (drummer). While its exact origin is unknown, some scholars believe that pansori developed during the reign of King Sukjong of the Joseon Dynasty on the basis of Chunhyangga, which was composed by Yu Jin-han in 1754, while others trace its origin to an entertainment mentioned in a document dating back to the early days of the Joseon Dynasty. Still others argue that it dates back to Silla, where folk entertainments called pannoreum were widely performed. The musical accompaniment of Pansori consists of a variety of rhythms called jinyangjo, jungmori, jungjungmori, and hwimori. The drummer accompanying the singer breaks out into shouts of praise and encouragement, such as “Great!” and “Perfect!”, known as chuimsae, at the appropriate endings. During the reign of King Sunjo (1800-1834) of Joseon, there were eight masters of pansori, including Gwon Sam-deuk, Song Heung-rok, Mo Heung-gap, Yeom Gye-dal, Go Su-gwan, and Sin Man-yeop, each of who played a key role in the development of the musical genre into the form we know today. The current tendency is to divide Pansori into the following three schools: Dongpyeonje, which developed in the northeast area of Jeolla-do; Seopyeonje, which developed in the southwestern region of the peninsula; and Junggoje, which developed in Gyeonggi-do and Chungcheong-do. In its early stage, there were twelve great Pansori works, including Chunhyangga (Song of Chunhyang), Simcheongga (Song of Sim Cheong), Sugungga (Song of the Rabbit and the Turtle), Heungboga (Song of Heungbo), Jeokbyeokga (Song of the Red Cliff), Baebijang taryeong (Song of General Bae), Byeongangsoe taryeong (Song of Byeon Gang-soe), Jangkki taryeong (Song of the Cock-Pheasant), Onggojip taryeong (Song of the Miser Onggojip), Musugi taryeong (Song of Military Officials), and Gangneung maehwa taryeong (Song of Plum Blossoms of Gangneung), which were much shorter than the five works remaining today, namely, Chunhyangga, Simcheongga, Sugungga, Heungboga, and Jeokbyeokga. These five Pansori works have been designated as Important Intangible Cultural Heritages by the Korean government and are performed widely across Korea by various performers, including the following select group of government-acknowledged masters: Kim Yeo-ran, Kim Yeon-su and Kim So-hui (Chunhyangga); Jeong Gwon-jin (Simcheongga); Park Nok-ju (Heungboga); Jeong Yong-hun and Park Cho-wol (Sugungga); Park Dong-jin, Park Bong-sul, and Han Gap-ju (Joeokbyeokga).

Folk songs are sung by the people and are passed down from mouth to mouth. It is closely related to life by functions such as occupation, wind speed, play, etc., and may vary depending on the locality or the taste or improvisation of the caller.

The sound of hoedaji is a folk song sung by people to bury the dead during a funeral service and to make a tomb by grinding the soil mixed with hoe. At first, it starts with a slow melody and gradually speeds up, and then it changes into a manna tune that stimulates people's excitement. The hoe-daji sound is in the form of "span class='xml2' onmouseover='up2 (2874)' onmouseout='dn2()'dn2('span')//span>, and it's in the form of "span class='xml2' onm2" (2638. Our ancestors had the crown of paradise, so the sound of bier and hoedaji often included humorous Lyrics.

Hoengseonghoi Dajisori was designated as an intangible cultural asset to protect and pass on as a unique functional folk song. Yang Joong-ha, an entertainment holder living in Gangwon Province, is continuing his career.

Gagok is also known as the Eternal Ring Jigok, which is a vocal piece that is included in the regular price along with sijo and lyric that were popular in the upper class society of the Joseon Dynasty. The lyric of Sijo is sung in the form of Chapter 5 to the orchestral accompaniment of Piri, Jeotdae, Gayageum, Geomungo, and Haegeum. Its artistic value is excellent compared to that of Sijo and its Lyrics. Traditional songs are played by 16-night or 10-night Janggu Jangdan accompaniment, and are based on 24 songs and are divided into male, female, and male and female songs according to the classification of people.

The song originated in the early Joseon Dynasty, and the current song was formed at the end of the Joseon Dynasty. As the mandaeyeop and Jungdaeyeop gradually declined during the late Joseon Dynasty, the sagdaeyeop became more prevalent, and from the end of the 17th century, the sagdaeyeop became a variant of 1, 2, and 3. By the 18th century, Jungger, Pyeonggeo, and Duger were derived from the Great Lakes of Isu, and by the 20th century, they grew into huge vocal music like today's songs.

In 1988, Han Ja-yi was introduced to Wolha Kim Deok-soon, the owner of an important intangible cultural asset, Yeo Chang-ga-gok, and learned about the arts. Since 1992, he has been studying Namchang Song from Kim Gyeong-bae, the owner of Namchang Song, and from So Dong-gyu, Kim Gyu-yeol, and Park Gi-ok, the master singers of Naepoje Sijo, he learned how to make poems and sing Lyrics. He won the gold medal at the 1992 national men's and women's sijo sang competition and the grand prize of the Jeonju Daesaseup Nori Sijo in 1993.

Dongducheon Folk Song was designated as a cultural asset by combining folk songs that were handed down around Dongducheon. This includes a variety of folk songs, including a ritual for rain, a ritual for rain, and a play for Baekjung nori. In addition, not only folk songs passed down to one village, but also the sounds that were passed down to another nearby village are all grouped together.

In the old days, when it was time for unknowns, it was dark and rainy, so the women who gave birth to their first son in the village went out to the stream with their height and said, "The sound of rain in the water." In this way, he believed that God of Heaven would let the rain down. The sound of "Mulkaburi" is divided into the sound of Bokshin and the sound of "Animal Call." The Lyrics suggest that it is a piece of music of the Binari family, and the actual melody of the song is sung on the Changbu Taryeongjo.

When planting rice paddies, ' 모 모 모 모' is called '훠훠소리소리' which is the sound of planting rice plants. Non-maegi is performed three times a year. The first non-maegi is called "Gianta-ryeong," the second non-maegi is called "Gilbang-at-ryeong," and the third non-maegi is called "Ginbang-an-at-ryeong." At the end of the rice paddy season in Baekjung, people wash and store homies that they have used. Under the ginkgo tree in the village, they sing "Ninano Bangataryeong" while playing with Nongak in hopes of a good harvest.

The funeral service calls for the bier-carrying bier, which is divided into "old bier sound," "modern bier sound," and "old bier sound." They also sing "The Sound of the Moon Riding" and "The Sound of the Earth Closing" to create the tomb, and at the end of the Moon Riding, they sing "The Sound of the Bird" to prevent evil. Dongducheon Folk Songs have well-known local characteristics such as folk games and folk songs in northern Gyeonggi Province.

Gasa, which is part of the country’s traditional vocal music, refers to a long narrative in verse. Based on relevant records, it is presumed that this form of verse started to be written after the reign of King Yeongjo (r. 1724-1776).

A total of 12 pieces have been handed down and survive today. They are Baekgusa(The Song of the Seagull), Jukjisa(The Song of the Bamboo Branch, Hwanggyesa(The Song of the Yellow Cock), Eobusa(The Song of the Fisherman), Chunmyeongok(Spring Indolence), Sangsa Byeolgok(Longing for the Departed One), Gilgunak(The Street Military Music), Gwonjuga(The Drinking Song), Suyangsanga(The Song of Mt. Suyang), Cheosaga(The Song of the Hermit), Yangyangga(The Song of Yangyang Town), and Maehwa Taryeong(The Song of the Plum Blossom).

It is not known who composed these songs or wrote their Lyrics, but it is thought that the tradition of Gasa was established toward the end of the Korean Empire (1897 – 1910). The narratives of Gasa are very long and are not regularly styled, and so it is not clear how singers are supposed to arrange their diverse features and sounds. Melodies differ slightly from narrative to narrative. Modulations and repetitions appear characteristically.

As for their rhythm, Baekgusa and Jukjisa have dodeuri rhythm (sextuple time). Sangsa Byeolgok, Cheosaga, and Yangyangga have quintuple time. Gwonjuga has no fixed rhythm.

Basically, Gasa is sung without instrumental accompaniment, but sometimes it is sung to the accompaniment of piri (flute), haegeum (two-stringed fiddle), daegeum (bamboo flute) or janggo (hourglass-shaped drums).

As a free-style song, Gasa is good at expressing people’s sentiment or natural beauty. It is a song sung by professionals, and is the country’s indigenous music featuring peacefulness and locality.