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.

Born in Boseong, South Jeolla Province in 1954, Kim Ok-su came to Seoul at the young age of 13 and has been on the same path for 40 years after learning stone techniques from Jeong Sun-bung and Go Geum-dong.

He won prizes at the National Skills Competition, and specialized in Buddhist sculptures to repair stone structures at major Buddhist temples across the country.

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.

Jongmyo Shrine, located in Jongno-gu, Seoul, is where the ancestral tablets of kings and queens of the Joseon Dynasty were held.

It is a Cultural Heritage that shows the royal ritual culture, a Confucian tradition of the Joseon Dynasty, and the spatial planning method is very unique and in excellent state of preservation.

It was built and maintained in the late 14th century, but was destroyed during the Japanese Invasion of Korea in the early 17th century, and was later added to the current state as needed.

Jongmyo Shrine is also a World Heritage Site, but Jongmyo Jerye and Jongmyo Jeryeak, which are held in Jongmyo Shrine, are also registered as Intangible assets.