The purpose of this paper is to review the adhesion process of gagok songs that appeared in the early 20th century. In the Korean old score established from the late 19th century to the early 20th century, such as ‘Hyeongeum-oeumtongron,’ ‘Hwigeum Gagokbo,’ ‘Hakpogeumbo’, and ‘Bangsan Hansigeumbo,’ the Gagok songs showed the peak of quantitative expansion, including various variational melodies, which was also very active in female gagok song. However, as the naturally grown Pungryu culture declined after national sovereignty, the differentiation of repertoire ended, and since the 1920s, the musical characteristics of the gagok song have been aggregated into four categories: settlement of individual music melodies, compilation of male and female gagok song styles, compilation of a representative lyrical group, add a variety of expression techniques focusing on female gagok song and musical score of song melody and general score of accompaniment melody. The gagok song included in the three Korean old scores is eventually passed on songs by Ha Gyu-il, which is the direct beginning of the gagok song performed today. The adhesion of these gagok songs can also be understood through the appearance that the compilation compiled in the 20th century - ‘Sigayogok,’ ‘Yeonghwacho,’ ‘Sijoeumryul,’ ‘Sijojip,’ ‘Gagokwonryu’, ‘Gagokbogam’ and so on - contains relatively limited songs compared to the previous period.