This song was composed by Kim Young-jae, a master of Haegeum and Geomungo High School, in 1982. It is a solo song of Haegeum, which is composed of traditional music from Seodo, Yeongnam and Honam, and is played to the rhythm of Omori.

At the beginning of the Mu rhythm, the melody of Menarijo in GYeongsang-do is improvised, making it feel like listening to the improvised performance of the Mu rhythm, or "Alap," prior to the main performance of Raga in India.

It was followed by the improvisation of the Manari rhythm, which led to the sad melody of the Namdo Gye-mYeon. It went back to the theme of Menarijo, and it was played with the heartfelt melody of Seodo JiJang, and the theme melody was foreshadowed several times to the off-mori rhythm.

The white-spirited Ajaeng Sanjo belongs to a group of improvisations.

There are various changes in the group and the distinction between the two birds is clear.

In JaJinmori, the GYeongdrumje stands out.

♡ It is a scene where a housewife avoided a tiger she met on land and finally met a rabbit.

The member of the National Changgeuk Company, Yu Taepyungyang, will sing along with his teacher, Jo Tong-dal.

The musical instrument, commonly known as the instrument used to play music, has been used in traditional music since the Three Kingdoms Period, and about 60 types of musical instruments have been introduced, including unique instruments from Korea, and foreign instruments imported from China, the West, and other regions. As Korea was adjacent to the northern continent, Chinese and Western music was already introduced during the Three Kingdoms Period. Especially after Silla unified the three kingdoms, Tang Dynasty music was imported.

By the Goryeo Dynasty, Song Dynasty folk music and aak were imported, and by the time of King Yejong's reign, Ahak was introduced, and it still came in large quantities. These instruments were classified according to the main ingredients needed to make musical instruments in "Jeungbo Munheongo," and in particular, the musical instruments used for the unique traditional music, as well as the instruments used for Ahak and Dangak.

By the Japanese invasion, national sovereignty was lost and court musicians became free men. Of course, unlike the heads of government-affiliated musical instruments who made Jeongak-centered instruments, Sanjo-centered instruments were being produced in the private sector. This sanjo instrument can be said to be for individual performance, making it more cheerful and easier to transport than a group-oriented Jeongak instrument. During the Japanese Colonial Period, Kim MYeong-chil was named in Jeonju, and Kim Boong-gi (Kim Hak-gi) was named in Jeongeup.

After Korea's liberation from Japan's colonial rule, Kim MYeong-chil's technique was followed by his son Kim Gwang-ju, who became the No. 42 instrument master in 1971. He moved to Seoul to teach Choi Tae-gwi, Go Heung-gon, and Lee Young-soo before passing away in April 1984. Originally, Yi Yeongsu was designated as a cultural asset of Jeollabuk-do with the functions of Kim Bungi in Jeongeup, but he also received the functions of Kim Gwang-ju.

The musical instrument director originally thought he would make all instruments, but now he is divided into a drum, a Jango, a gong, a gong, a Jing, a salted fish, a flute, a gayageum, a geomungo, and a haegeum.

A chambit is a hairbrush with thin and dense combs. Depending on the size, there are large, small, medium, small and medium-sized enterprises, Jinyangso, Hwagakso, Mingapso, Milso, and Seoulchi.

The history of combs in Korea is so long that they were excavated from the Nakrang Ancient Tombs in the 1st century B.C. and during the Joseon Dynasty, bamboo wares were placed to make chambits.

Chambits are used to tidy up hair with a hairbrush and then to remove impurities from hair sometimes. Usually, combs are made of bamboo, but some are made of godmothers, and others are also made of coarse and dense.

Most of the shapes of the chambits are rectangular. Since ancient times, chambits have been made in Yeongam, Damyang, Naju and Namwon, but only in Yeongam and Damyang. Among them, the Chambit of Yeongam is famous throughout the country for its high quality and long-lasting use.

In Yeongam, South Jeolla Province, Yi Bang-woo and Ko Haeng-ju of Damyang have been recognized as having the function of the comb in order to continue the tradition of making it.

Miryang Baekjung Nori refers to a play in which the servants, who had been busy farming and had been working hard, chose Yongnal around July 15 of the lunar calendar to take a day off from the landlords.

This type of play is common in rural areas in the central and southern regions of the country, where rice farming was mainly done during the Homi washing season. In Miryang, it is also called Geombaegi Chamnol because it is called Munchaegi Chamnol because it is called Munchaecham, which refers to liquor and food prepared by landowners.

Baekjung Nori in Miryang is composed of Nongsinje, smallpox horse riding, dance boards, and back games. When the festival begins with ObangJingut while playing nongak, the three generations of Nongshin University are set up in the yard and the dragons are tied together.

Standing in a circle around Nongshin University, one of them reads a congratulatory message while bowing down three times. Sock-dum-riding is a game in which an outstanding farmer is selected from among the servants and mounted on a horse made of woodpecker woodpecker to cheer them up with nongak.

The dance starts with the yangban dance, and if you dance slowly to the rhythm, the servants drive out the yangban and perform the humorous BYeongsin dance such as dwarves, JungpungJang, Paebulttugi, Kkoburi Halmi, Seolleun, Mundungi, Gopchu, Hijuldaegi, Volunteer, and Jeolreumbal.

Subsequently, the Beombu dance and Obuk dance were performed, in which the two alternately performed a trick in front of Janggojab. Obuk Dance is a unique dance that can only be seen in Miryang, where five drum jabs dance roundly or move inside and outside the circle, making it a powerful and stylish dance.

The back play is a dance in which all the players mingle together in the sense of harmony, and each of them is decorated with individual or impromptu dances, as the rhythm and rhythm change frequently.

The characteristic of Baekjung Nori in Miryang is that the resentment of the common people and the common people is humorously expressed in the whole play. BYeongsin dance and Obuk dance have been handed down only in Miryang, and Bae Gimnae son-in-law's dance moves are the main dance moves of the game, and it is unusual for him to move his right and right feet, his left and left feet move together.