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.

The late Kim Gye-soon, the holder, has contributed much to the development of our embroidery today as a first-generation and old-timer of the modern embroidery industry in Korea.

He has been a self-made man for the past 50 to 60 years and has focused more on nurturing younger students and studying embroidery than on his own.

In particular, as it was prevalent in the royal court and was practiced in the women's diadem, there were not many literature materials, so it contributed a lot to the development of embroidery by analyzing and researching old works and devoting them to the design and reproduction of works.

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.