The Jeongdaeseokryu Geomungo Sanjo is characterized by its colorful and colorful melody using various techniques that were not used in the Geomungo Sanjo. It is characterized by the maximization of Geomungo's expressive power by exploring the use of the Yuhyeon 2-GwaeGyo, the emergence of the high-pitched range from 9 to 16 trigrams, and the change of tone through the movement of gwae.

Park Yong-tae (present name: Park Dae-sung) is a first-generation apprentice to Han Il-seop, the founder of the Ajaeng Sanjo, and the legitimacy of the Korean traditional music scene is clear, and there is no doubt about the legitimacy of the melody, and the general Sanjo is composed mainly of the rhythms of Gyemyeonseong Fortress, giving a feeling of pleading and desolation, but Park Yong-tae (Park Dae-tae's Aja's (pyeon's) has a strong sense of superiority.

Intangible Cultural Property No. 16 designated by Busan Metropolitan City (designated on December 7, 2009)

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.

Jongmyo Jeryeak refers to music played using dance, songs, and musical instruments when performing ancestral rites (Jongmyo Jerye) at a shrine (Jongmyo) that honors kings and queens of the Joseon Dynasty.

In each procedure of the Jongmyo rite, a song called Jongmyo movement is sung to praise the virtues of ancestors, focusing on the music of Bo Tae-pyeong and Jeong Dae-up. While the Jongmyo Jeryeak is played, it is accompanied by a literary figure, Bo Taepyeongjimu (honor of the kings' virtues) and a martial artist, Jeong Dae-upjimu (praise of the kings' exploits).

Jongmyo Jeryeak was originally created for use in the royal banquet in 1447 (the 29th year of King Sejong's reign), and has been handed down to this day after being repaired in accordance with the 10th year of King Sejong's reign (1464). Eleven songs by Bo Tae-pyeong and 11 by Jung Dae-up are played at the Jongmyo Daeje, which is held on the first Sunday of May every year.

Jongmyo Jeryeak is the essence of court music, which combines instrumental performances, songs and dances of the Joseon Dynasty, and has a unique style and beauty that can not be seen in other countries while well showing our cultural traditions and characteristics.

The National Intangible Cultural Property No. 1 Jongmyo Jeryeak is currently listed as a representative UNESCO Intangible Cultural Heritage of Humanity.

Sanjo refers to the playing of an instrument solo to the accompaniment of janggo (hourglass-shaped drum), moving from slow to fast rhythm, in four to six movements. Gayageum Sanjo is Korean instrumental folk music played solo with gayageum (twelve-stringed zither). Gayageum Byeongchang refers to the singing and playing of gayageum at the same time. All Sanjo start with slow rhythm and gradually changes to faster rhythm, making listeners feel tense and increasingly delighted. Gayamgeum Sanjo is made up of four to six rhythms: jinyangjo (slow), jungmori (moderate), jungjungmori (moderately fast), jajinmori (fast), and hwimori (fastest). Compared to other instrument-based Sanjo, Gayageum Sanjo masters could form diverse schools thanks to the unique characteristics of gayageum. A singer engaging in Gayageum Byeongchang sings a part of danga or pansori to the accompaniment of his/her own gayageum playing. Gayageum Byeongchang used to be sung by Gayageum Sanjo masters, but the current tendency is for the separation between players of Sanjo and Byeongchang. A song sung as Byeongchang creates its own atmosphere due to the unique melody of gayageum. The following are well-known parts of Gayageum Byeongchang: Jebinojeonggi (Route of the Swallow's Trip) of Pansori Heungboga (Song of Heungbo), Sarangga (Song of Love) of Chunhyangga (Song of Chunhyang), Gogocheonbyeon (Brightness of the Sunshine in the Sky) of Sugungga (Song of the Rabbit and the Turtle), and “Sim Cheong’s Father on His Way to Hwangseong” of Simcheongga (Song of Sim Cheong).

Gasa, which is part of the country’s traditional vocal music, refers to a long narrative in verse. Based on relevant records, it is presumed that this form of verse started to be written after the reign of King Yeongjo (r. 1724-1776).

A total of 12 pieces have been handed down and survive today. They are Baekgusa(The Song of the Seagull), Jukjisa(The Song of the Bamboo Branch, Hwanggyesa(The Song of the Yellow Cock), Eobusa(The Song of the Fisherman), Chunmyeongok(Spring Indolence), Sangsa Byeolgok(Longing for the Departed One), Gilgunak(The Street Military music), Gwonjuga(The Drinking Song), Suyangsanga(The Song of Mt. Suyang), Cheosaga(The Song of the Hermit), Yangyangga(The Song of Yangyang Town), and Maehwa Taryeong(The Song of the Plum Blossom).

It is not known who composed these songs or wrote their lyrics, but it is thought that the tradition of Gasa was established toward the end of the Korean Empire (1897 – 1910). The narratives of Gasa are very long and are not regularly styled, and so it is not clear how singers are supposed to arrange their diverse features and sounds. Melodies differ slightly from narrative to narrative. Modulations and repetitions appear characteristically.

As for their rhythm, Baekgusa and Jukjisa have dodeuri rhythm (sextuple time). Sangsa Byeolgok, Cheosaga, and Yangyangga have quintuple time. Gwonjuga has no fixed rhythm.

Basically, Gasa is sung without instrumental accompaniment, but sometimes it is sung to the accompaniment of piri (flute), haegeum (two-stringed fiddle), daegeum (bamboo flute) or janggo (hourglass-shaped drums).

As a free-style song, Gasa is good at expressing people’s sentiment or natural beauty. It is a song sung by professionals, and is the country’s indigenous music featuring peacefulness and locality.

☆Samulnori means four types of musical instruments: kkwaenggwari, janggu, buk, and gong.

Samulnori is an adaptation of a large-scale outdoor Pungmul Nori as a stage art in 1978.

While pungmul nori emphasized the activity of outdoor performances along with large-scale plays, samulnori is a form of performance that emphasizes the emotion that can be felt in the instrumental sound itself.

It plays various rhythms and proceeds as a method of development of eccentricity (start, progress, climax, finish) in the periodic flow of tension and relaxation.

The Royal Ancestral Ritual in the Jongmyo Shrine and Its music is also known as 'Jongmyomusic' as the general name for instrumental music, song and dance performed at the memorial service for the kings and queens of the Joseon Dynasty.

It is also called Jongmyo Daeje because it was a large and important ritual held in Jongmyo during the Joseon Dynasty