In the research of the farmer's music performed by groups of professional entertainers in Namwon area through this century, by the analysis of the activities of the artists of the farmer's music and its melody, it is confirmed as follow.
It is confimed that the aprentices of Chon Pan Yi were Ryou Han Jun and Ki Chang Soo through the observation of the genelogy of the farmer's music artists in the vicinity of Namwon. It is considered valuable to get the statements for the first time of the farmer's music artists who witnessed the real performance of Chon Pan Yi. However, several of the irragularities were noted in the genelogy arranged by the earlier researchers, that were genelogy of Maulkut and the geneloty of the professionals which were fallen short of public approval for they were mixed up without sufficient evidence. Especially the subjects of the relationship between Chon Pan Yi and Lee Hwa Choon and the relationship between Lee Hwa Choon and Park Hak Sam are left to be proved further.
Research shows that the leadership of Namwon farmer's music continued from Chon Pan Yi and then to Ryou Han Jun, Kang Tae Moon and Ryou Myong Chol. They were professional artists who live on the performance. They also were the local entertainer groups, on the contary to Namsadang in the province of Kyong-gi, Chung-chong, who had lived through generations in that area, and were common people not shamanists, and occasionally from the ruined landlords. Their preformance covered Pojang-Kollib a unique form of road show on payment, Chisin-Bapki contests, participating in the varieties of cerimonies in the area. With the introduction of women farmer's music troup, they lost the competance in Pojang-Kollib, They faded away without bring up apprentices as they lose the means of living such as Madang-Balbi by the atmosphere of the Saemaul Movement under the reign of Yushin era and other socio-political transitions. Ryou Myong Chol was the only aire to the folk music. It is expected that the folk music in Namwon has got the momentum to the new development not to remain in the past as he regained the activities and now is teaching the students.
Namwon farmer's music is categoried as Chilkut, Munkut, Dul-Dangsankut, Chisin-Bapki, Nal-Dangsankut, etc. according to the purpose of the performance. And Pankut, core of the farmer's music, is consisted of three parts, Chonkut, Hukut, Chaenungki. In consideration of the time and profitability, the group of Pojamg-Kollib used to performed Chonkut without Noraekut, Chumkut, Dungjiki and whole of Hukut. Whole of Pankut was performed very scarsely.
Categorizing Namwon farmer's music as meta-concept and sub-concept, and that which were in the same numbers and subnumbers were analized in the group of a meta-concept. As the result, they were categorized as regular numbers such as Kutgori, Chajinmori, Dongsalpuri, Hwimori, Chungmori, and irregular numbers, Otmori, and mixed numbers, mixed-up of multiple meta-concepts, and lastly Nanta, non-numbers
They were also categorized by the repetition and the change of the pattern of rhythm, which was done in an effort to stipulate the musical form the farmer's music rhythm. This was summarized as follows:
- repetition of the same pattern of rhythm
- variation part is additionally designated in the form
- incertion of the auxilarily varition into the repetition of the same patten of rhythm
- composition of passage. Introducing, Turning, Concluding, Soiving.
Namwon farmer's music has variety of techniques of upper-playing, Sangmo-Norum, and all the members are to turn the Sangmo. In that context, the kinds of upper-playing, the timeing, and the methods were reviewed. In Namwon farmer's music　member, who is in charge of Kkwaenggwari, Changgu, Ching, puts on Budul-Sangmo, also called dog-tail sangmo, and Sogojaebi puts on Chaesang. It is noted that the techniques are different for Budul-Sangmo and Chaesang, and the terminologies which designate the activities of turning Sangmo are different each other. From the analysis of the relationship between rhythm and upper-playing by the observation of personal playing of Kkwaenggwari, it is conceivable that upper-playing and the pattern of the rhythm corelatate each other in Samchae and Hwimori.
With regard to the connection of pattern of the farmer's music, which is easy to be overseen, it is considered to be a good tool to analyze the connection between one musical pharse and the other in analysis of the form of farmer's music. On the basis of the speed of the rhythm, front and back, and the structure of the sub-number, the connection of rhythm is categorized as follows:
- To move to the next rhythm without incertion of connecting rhythm
- To connect with the variation of the previous rhythm
- To connect with the variation in conformity with the next sub-division
- To finish the previous rhythm with Nanta, and start with the new rhythm

In the research of the farmer's music performed by groups of professional entertainers in Narnwon area through this century, by the analysis of the activities of the artists of the farmer's music and its melody, it is confirmed as follow.
It is confimed that the aprentices of Cho˘n Pan Yi were Ryou Han Jun and Ki Chang Soo through the observation of the genelogy of the farmer's music artists in the vicinity of Namwon. It is considered valuable to get the statements for the first time of the fanner's music artists who witnessed the real performance of Chzin Pan Yi. However, several of the irragularities were noted in the genelogy arranged by the earlier researchers, that were genelogy of Mau˘kut and the geneloty of the professionals which were fallen short of public approval for they were mixed up without sufficient evidence. Especially the subjects of the relationship between Chzin Pan Yi and Lee Hwa Choon and the relationship between Lee Hwa Choon and Park Hak Sam are left to be proved further.
Research shows that the leadership of Namwon farmer's music continued from Chin Pan Yi and then to Ryou Han Jun, Kang Tae Moon and Ryou Mydng Chil. They were professional artists who live on the performance. They also were the local entertainer groups, on the contary to Namsadang in the province of Kydng-gi, Chung-cho˘ng, who had lived through generations in that area, and were common people not shamanists, and occasionally from the ruined landlords. Their preformance covered Pojang-Ko˘llib a unique form of road show on payment, Chisin-Bapki contests, participating in the varieties of cerimonies in the area. With the introduction of women farmer's music. troup ,they lost the competance in Pojang-Ko˘llib, They faded away without bring up apprentices as they lose the means of living such as Madang-Balbi by the atmosphere of the Saemau˘l Movement under the reign of Yushin era and other socio-political transitions. Ryou Myo˘ng Chdl was the only aire to the folk music. It is expected that the folk music in Namwon has got the momentum to the new development not to remain in the past as he regained the activities and now is teaching the students.
Namwon farmer's music is categoried as Chilkut, Munkut, Du˘l-Dangsankut, Chisin-Bapki, Nal-Dangsankut, etc. according to the purpose of the performance. And Pankut, core of the farmer's music, is consisted of three parts, Chdnkut, Hukut, Chaenu˘ngki. In consideration of the time and profitability, the group of Pojamg-Ko˘llib used to performed Chdnkut without Noraekut, Chumkut, Du˘ngjiki and whole of Hukut. Whole of Pankut was performed very scarsely.
Categorizing Namwon farmer's music as meta-concept and sub-concept, and that which were in the same numbers and subnumbers were analized in the group of a meta-concept. As the result, they were categorized as regular numbers such a s Kutgo˘ri, Chjinmori, Dongsalpuri, Hwimori, Chungmori, and irregular numbers, O˘mori, and mixed numbers, mixed-up of multiple meta-concepts, and lastly Nanta, non-numbers
They were also categorized by the repetition and the change of the pattern of rhythm, which was done in an effort to stipulate the musical form the farmer's music rhythm. This was summarized a s follows:
- repetition of the same pattern of rhythm
- variation part is additionally designated in the form -
incertion of the auxilarily varition into the repetition of the same patten of rhythm
- composition of passage. Introducing, Turning, Concluding, Solving.
Namwon farmer's music has variety of techniques of upper-playing, Sangmo-Noru˘m, and all the members are to turn the Sangmo. In that context, the kinds of upper-playing, the timeing, and the methods were reviewed. In Namwon farmer's music member , who is in charge of Kkwaenggwari, Changgu, Ching, puts on Budiil-Sangmo, also called dog-tail sangmo, and Sogojaebi puts on Chaesang. It is noted that the techniques are different for Budiil-Sangmo and Chaesang, and the terminologies which designate the activities of turning Sangmo are different each other. From the analysis of the relationship between rhythm and upper-playing by the observation of personal playing of Kkwaenggwari, it is conceivable that upper-playing and the pattern of the rhythm corelatate each other in Samchae and Hwimori.
With regard to the connection of pattern of the farmer's music, which is easy to be overseen, it is considered to be a good tool to analyze the connection between one musical pharse and the other in analysis of the form of farmer's music. On the basis of the speed of the rhythm, front and back, and the structure of the sub-number, the connection of rhythm is categorized as follows:
- To move to the next rhythm without incertion of connecting rhythm
- To connect with the variation of the previous rhythm sub-division -
- To connect with the variation in conformity with the next
- To finish the previous rhythm with Nanta, and start with the new rhythm