This study examines Oh Yong-rok's insights into the objects and concepts of folk music through the fields and achievements of his research, and considers the research methodology presented by him. Oh Yong-rok's academic ideas do not exist as distinct or divided by the branches or fields of music. His theme is to systematize traditional thinking to understand the underlying musical depth. At the same time, it implies the task of reaffirming and creating a new way of thinking by identifying the changes in the deep layers. Oh Yong-rok suggests a different level of research, away from the focus on the structure of music that most scholars have focused on since the birth of Korean musicology. There’s been a lot of research on the connection between scales, melodies, structure of musical pieces, and the music itself , which mainly discuss the analysis of sheet music, melody comparison, and music comparison, Oh Yong-rok pays more attention to the identification of the primary cause which made these results. The concept of "structural melody" hidden as the musical matrix of his research, or the idea of overcoming static scale theory that presents the melody as a compositional sound and identifying it as a dynamic scale theory with embedded melodic movements, came from this consciousness. For Oh Yong-rok, traditional music is divided into two levels of composition : the base, the top. It means a "story" that they create by interacting with the upper aesthetic system or the lower aesthetic system, respectively. These are stories that should be understood in three dimensions as changing and creating entities, not fixed or definitive objects. Oh Yong-rok's work starts with the insight that the method is inherent in the object itself. In conclusion he is regarded as a scholar who pursued the qualitative study of music in that he sought to inherit the traditional thinking system through reflection and discovery of its inherent attributes.