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 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.

In traditional society, nongak has three main ways of existence. First, nongak related to rituals such as dangsangut or yard treading, and second, nongak related to labor and play, such as duregut played in Gimmaegi with durekun, and third, pangut related nongak.

The current "Gabbi-gocha Nongak" is a pangut-style nongak related to play, and the main theme of this song is Nongsa-gut Nori, which reproduces farming work as a play.

These farming rituals are found in parts of Gyeongsangbuk-do and Gangwon-do, and are largely characterized by the preservation of similar nongak in Ganghwa, which is far from the region.