Some of the Ganghwa Durejil songs were influenced by agricultural songs from the Yellow Sea (Yeonbaek region) compared to inland areas.

The sound of durejil continues to be a solo song if the fish is narrow, and if it is wide, two or more yongdurees are installed to sing back and forth. In addition, the sound of planting rice is also sung in the case of narrow rice paddies, while singing in the wide rice paddies while humming in solo.

Sandae nori refers to the mask dance of the central region. Songpa Sandae Nori is a popular play that combines dance, mime, words of virtue and humor as a branch of Sandae-do Gamgeuk enjoyed in Seoul and Gyeonggi Province. This play was performed every year on the fifteenth day of the first lunar month and on Dano, Baekjung, and Chuseok.

Songpa Village was the commercial base of Gyeonggi Province, and it was said that about 200 years ago, when Songpa Market was the most prosperous, Sandae Nori became popular and was completed in the form of a play that still conveys to this day. Songpa Sandae Nori consists of seven chapters, and prior to the play, it is equipped with masks and costumes, played on the road to the venue of the performance while playing music, arranged masks and performed ancestral rites.

The composition of the play, exaggeration, dance, and mask are almost similar to Yangju Byeolsandae Nori, but several masks, dances, and roles are characterized by their old forms. In other words, in Yangju Byeolsandae Nori, the cremation dance moves that have already disappeared, and the masks of the mother of childbirth, Shin Hal-mi, and the shaman remain, so there are separate roles for these masks. Thirty-three masks made of a bowl, pine bark, and paper are used, and the play style, like other mask dances, is mainly dance, accompanied by jokes and movements.

■ Origin of the King's reign

Jeongjeonggok, a song written by Jeong-seo, who was raised to Busan Dongnae during the reign of King Uijong of Goryeo, was settled as a song during the Joseon Dynasty, and Sijo was derived from this song.

Songs and sijo use sijoshi as a yellow word. The sijo is designed to simplify the melody and rhythm of the song so that anyone can sing it easily, so just the daegeum and janggu accompaniment is enough to play it. Furthermore, it is simple and simple, and it is a song enjoyed by scholars and nobles, not professional singers.

The sijo word is a song that reduces and simplifies the song so that you can express your composure and style to the fullest.

To indicate this, a fully qualified sijo is the Anglo-Sijo.

The song refers to a musical style in which Sijo poem, one of the literary genres of the Joseon Dynasty, is added to the melody of five chapters.

It is called Jeongga along with the lyric and sijo, and is also considered one of Korea's top three vocal music songs along with Beompae and Pansori.

In the late Joseon Dynasty, it was a representative piece of music for the folk and folk, and it was also their living music.

Playing to the accompaniment of the gale, the tune is divided into clear, vigorous U-jo and sad-feeling surfactants, and divided into male and female chants.

Pulpis literally mean playing a flute with grass. The Chinese character is also called Chokjeokkeum, which is played by folding leaves or grass leaves and whistling them on the lips. It is said that peaches and citron leaves are used a lot.

The record of the grass flute is the oldest recorded reed or reed flute in "Suseo" and "Dongdongjeon-dong" and also features a portrait performance in the poem "Someone picks a green leaf from a forest, blows it in his mouth, and makes a clear sound" in the poem "Moon Ga-seong" by Lee Gyu-bo during the Goryeo Dynasty. In 1493, "Akhakwebeom School" compiled by Seonghyeon and others during the reign of King Seongjong of the Joseon Dynasty recorded the types, materials, and methods of performing the full flute in detail. In "The Annals of the Joseon Dynasty," there are several records showing that the court had a musician playing the initials. In addition, a collection of calligraphic works by various writers showed that they enjoyed playing them from the top to the king to the commoners below. And Kang Choon-seop, a first-time music expert on meteoric albums, has recorded music such as "Hwimori" and "Gutgeori" with the same music as Sanjo. As such, the Pulpieri has been one of the musical instruments enjoyed by the Korean people throughout its long history, and has been recognized not only by the private sector but also by the official instrument.

"The Evil Trapezius" records that anyone can play the instrument so easily that it is not difficult to make a sound and play it by saying, "You don't need the teachings of your ancestors, and you can only know all the syllables first." In fact, the full flute is easy for anyone to learn and play, and any music can be freely played. Today's first play is a folk song, a Cheongseong song, a Sanjo song, and other traditional pieces of music.

In Gyeonggi-do, Oh Se-cheol was designated as the holder of a full flute, and he continues to perform actively.

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.

Byeolsingut refers to a rite to pray to Seonghwang (Seonang), the guardian of the village, every three, five, or ten years for a good harvest of peace and farming in the village.

About 500 years ago, Hahoe Village in Andong, North Gyeongsang Province, performed a byeolsingut to Emperor Mujinsaeng on the fifteenth day of the New Year (December 15) every 10 years, and played mask games to entertain him along with the exorcism.

Hahoebyeolsingut Talnori consists of eight madangs of Mudong Madang, Jujumadang, Baekjeong Madang, Halmi Madang, Pagye Seung Madang, Yangban, Seonbi Madang, Honrye Madang, and Sinbang Madang.

Before the game begins, the day after the beginning of the first lunar month, if you go up to the cathedral, grab the descending pole with the sugar droplets, and lower the Holy Spirit, you move the sugar droplets to the Seonghwangdae and come down from the mountain. If Seonghwangdae and Naerimdae are built against the eaves of a verb, the play begins.

The characters include Ju Ji-seung, Gaksi, Jung, Yangban, Seonbi, Cho Rang-i, Imae, Bunae, Baekjeong, and Halmi. The book is based on ridicule of Pagye-seung and biting satire and interpretation of the nobleman.

Hahoe Byeolsingut Talnori has a ritualistic nature. In particular, Gaksital is believed to be a substitute for Seonghwangsin, and only Byeolsingut is to be seen. When taking it out, the ritual must be performed.

The masks used for the game were made of 11 kinds of 10 types of duckwood, including jija mask, and the original was designated as Hahoe mask and Byeongsan mask (National Treasure No. 121) in 1964 by applying lacquer and pigments in two or three layers.

The accompaniment of mask play is performed by a pungmul player with a gong-gwaengi at the center, and dance moves with a little bit of dance moves mixed with improvisation and routine movements.

Hahoe Byeolsingut Talnori is characterized by the lack of a back-to-back party enjoyed by burning masks, and is valuable as a valuable source of information on the origin and origin of mask dramas in Korea.

Ogwangdae refers to mask dance in the southern part of the country, and it is widely believed that the name Ogwangdae comes from Ohaengseol. This game is played on the night of the fifteenth of lunar January, during which the ritual of Cheollongje was held on the first day of the first lunar month, and then the jisinbapgi was performed.

The origin of Gasan Ogwangdae was that a box adrift on the beach of Gasan 100 years ago, and when residents opened it, it contained documents containing the lines of mask and play, and the mask was stored in the ark and used only for play.

Gasan Ogwangdae Nori consists of six madangs of Obangsinjangmu, Yeongno Dance, Mundung Dance, Yangban Dance, Halmi Dance, and Yeonggam Dance, reflecting the life of the people, satire about yangban and pagyeseung, and the problems of wife and concubine.

The characters include a total of 30 characters, including General Obang, Yeongno, Yangban, small yangban, Maltuki, Mundoong, Oldjang, Sangjwa, Seoul Baby, Somu, Halmi, Madangso, Yeonggam, Ongsaengwon, and Mudang.

Gasan Ogwangdae is the only Ogwangdae in the country where the dance of Obangsinjangmu remains, and the only Ogwangdae where inspiration dies, not Halmi.

In addition, one or two other Ogwangdae characters, but in Gasan Ogwangdae, five people come out to dance and play Jangtaryeong and Tujeon.

In the Mangsang area, at the time of the New Year, the village has been forbidden to play any musical instruments until the ritual of Gocheong on the fifteenth day of the first lunar month and Seonanggut is played in Seonangdang.

Since the festival, which connects God and man with Gocheongje Nongak, was held, each village has freely sounded the sound of iron and walked around the village to pray for peace and well-being of the family. At this time, each family pays drinks, snacks, and provides rice or money, all of which are collected and used as a joint fund for the village.

Mangsang Nongak greeted Seonangdang on the morning of the fifteenth day of the first lunar month, and went to a well near Seonangdang to say, "Let's go through the well, let's go through the water hole," and said, "Let's go over the bridge to Duam Village," and all the people gathered in front of Seonangdang and came back to the big vacant lot.

1) Section Chief: Seonanggut

2) Section Chief: Jisinbapgi

3) Section Chief: Playing games

4) Fourth section chief: Obangnori

5) Section Chief: Twelve-legged nori and receiving dong-ori.

6) Section Chief: Ddoldolmali and Hwangdeokgut Nori

Heungboga is also called 'Park Taryeong' as one of the five Pansori family members.

Heungbo, a poor but kind-hearted brother, is blessed for fixing swallow legs, and he is punished for deliberately breaking swallow legs in order to become richer as a rich man who plays with a mean brother.

It is a story that contains a typical lesson of good and bad, and emphasizes brotherly friendship.

The Gyeonggi Gokal Sogo Dance, which is performed by wearing a cone hat and making fun of Sogo, was part of a cheerful nongak, a folk dance embodying the sogo sticks inserted into nongak in Gyeonggi Province.

However, rather than feeling that Nongak overlaps with its roughness or excitement, the movement is soft, and even the sogo in the hand is as beautiful as if it were part of the hand. It is a man's dance because his feet and hands are refined and quiet, but the joy of seeing a dance is great.

Unlike other regions, it is not only organized by the talented people, but also there is a movement only in this dance. They include "Saekgyeongbuk," which is a mirror-looking movement, "Jegibook," which is a leg movement, and "Kkuri Book," which is a movement that is like winding thread. There is a record of the dance with flowers on top of the vestibule, and the palace wore a colorful cone hat.

The genealogy of Gyeonggi Gokal Sogo Dance goes up to Kim In-ho, a dancer of Hwaseong Jaeincheong, and Hanseong Sunbo has a one-line record of "He is good at rope riding and even jesting in pansori, and he is especially good at bucking dance."

Lee Dong-an, the owner of the Bal Tal Tal Talent, was taught about 30 traditional dances and rhythms by Kim In-ho, which led to Jeong In-sam, the owner of the Gyeonggi Gokal Sogo Dance. Jeong In-sam's Sogo dance features clear dance moves and accurate composition.

Gayageum Byeongchang refers to singing while riding Gayageum.

The song is sung by adding gayageum accompaniment while picking a passage from either Danga or Pansori. In Pansori, it is also called Seokhwaje. There is a theory that Kim Changjo, the master of the Gaya Geumsanjo, began to be called in the late Joseon Dynasty.

Jinyang, Jungmori, Jungjungmori, and Jajinmori are used in Jangdan. The same melody of the gayageum and the song changes to match the principle of the gayageum, fills the space of the song with the gayageum melody, and sometimes adds to the excitement by adding the gayageum ganju.

Some of the representative songs include Gokcho, Honam, Cheongseoknyeong Pass, Jukjangmanghye, Saranga among Chunhyangga, Jebinojeonggi among Heungbo, and Gogo riverside among Sugungga.

Gayageum Byeongchang is a valuable cultural asset that seeks pure musical beauty among traditional music.

Nongyo is a song that is sung to forget fatigue and improve efficiency while working on rice paddies and fields, also called wild songs or farming sounds. As one of the folk songs, the song may be sung individually or collectively and may vary depending on the region.

Composed Nongyo was greatly developed as humans settled in the Geumgokcheon Stream basin and the agricultural culture developed. The contents are composed of Yongsinje, rice planting, dried radish, Asimaegi, Shilcham, and all kinds of objects. The sound of rice planting, "arralal sangsari," and the sound of non-maggy, "eolka lumps" or "dure sounds," are native sounds in the region.

Composed Nongyo is a pure Korean melody, and it is a reproduction of the old Nongyo and Dure (an organization for joint work) Choi Yang-seop, an entertainment holder living in Hongseong, continues his career.

Pyeongtaek has long been rich in agricultural products because it has a wide field called Sosatdeul, which has become an important background for Pyeongtaek Nongak.

In addition, Cheongnyongsa Temple near Pyeongtaek became the base of Sadangpae early on, and their nongak developed greatly at the end of the Joseon Dynasty. Therefore, Pyeongtaek Nongak is both a dure nongak and a geolippae nongak (the work of the masses playing gong and begging each other).

The instruments used in nongak include kkwaenggwari, gong, drum, bucku, family register, and trumpet. The formation consists of Yeonggi-su, Nonggi-su, Naepal-su, Hojeok-su, Sangsoe, Buyeo, Sangjang-gu, Sangjang-gu, Sangjang-gu, Bubu, Jongbu, Jongbu-gu, Jongbu, Chilmu-dong, Chilmu-dong, Jungae, and Yangban.

Nongak players wear costumes worn by military graduates in the past, wear colored bands on top of them, and wear a hat or cone hat on their heads. In terms of musical instruments, the gongs and drums are smaller than other regions, and there is no distinction between Sogo and Beopgo.

The cover of the melody is clear, and the presence of songgut is also unique. In addition, Gilgunakchilchae is a genre only seen in Gyeonggi Nongak, and Gilgunakchilchae in Pyeongtaek Nongak is distinguished from other regions.

Pyeongtaek Nongak is a high-quality nongak that is based on the simple tradition of dure nongak, but is composed of a combination of professional performances by namsadangpae entertainers who are highly performing, and Mudong Nori (a child dancing on an adult's wooden horse) was developed in particular.

Referring to farmers’ music that has been handed down in Iksan (previously called “Iri”), Iri Nongak belongs to Honam Udo Nongak (Farmers’ Performance of the Eastern Jeolla-do). Nongak (farmers’ performance) has developed briskly in Saesil Village in Iksan. The village brought people who learned farmers’ music from experts in nearby areas like Gimje and Jeongeup and who trained a high-quality farmers’ music troupe as we see today. An Iri nongak troupe is composed of yonggi (dragon flag), nonggi (farmers’ flag), swaenap (conical wooden oboe), trumpet, samul [four percussion instruments, i.e., two kkwaenggwari (small gongs), two jing (large gongs), two buk (drums), and four janggo (hourglass-shaped drums)], beopgo (Buddhist drum), and japsaek [referring to a group composed of yangban (nobleman), daeposu (drummer), jorijung (masked clown), changbu (male clown), gaksi (young girl), and mudong (dancing boys)]. Troupe members who are called chibae or gunchong wear black vest over white jacket, white trousers, and sangmo (hat with feathers or strings attached), with bands in three colors tied around the head. Kkwaenggwari (small gong)-based rhythms include those related to ilche, ichae, samchae, oemachijilgut, pungnyugut, ochaejilgut, jwajilgut, yangsando garak, hohogut, and obangjin garak. Pangut (entertainment-oriented performance) proceeds in the order of insagut, ochaejilgut, jwajilgut, pungnyugut, yangsando, ginmaedoji (joint performance of kkwaenggwari and janggo), sambangjingut, banguljingut, hohogut, dallachigi, short maedoji, jjakdeureum, ilgwang nori, gujeong nori (individual play), and gi sseulgi. There are diverse forms of bupo nori (hat dance) performed by sangsoe (leader of the farmers’ music troupe). Well-developed janggo rhythms and dances are mixed with the music. The performance also features sogochum (small drum dances) and jinpuri march. Many rhythms are relatively slow. The music makes colorful rhythms, each played to meticulously transformed tunes. Pungnyugut and deongdeokgungi-related rhythms showcase highly sophisticated techniques. Iri Nongak is a folk art performance that has been handed down along with the village history, playing an important role as an event that provides consolation in the hard life of farmers and helps villagers get along with each other well.