Seodo Sori refers to folk songs handed down in Seodo, i.e., Hwanghae-do and Pyeongan-do. Seodo Sori is divided into folk songs of Hwanghae-do and Pyeongan-do, Seodo Japga (Miscellaneous Songs of Seodo), and Sichang (chanting of Chinese classics). Folk songs of Pyeongan-do include Susimga, Yeokkeum Susimga, Ginari, Jajinari, Anju Aewonseong, etc. The most famous one is Susimga (Song of Sadness), which displays the sad mind of the people in Seodo because of their difficulties of being hired as a high government official in the early Joseon Period. Folk songs of Pyeongan-do are generally composed of five notes: re, mi, sol, la, and do. Generally, the narration is long, and the rhythms are irregular. The accompanying drum is beaten at the drummer’s discretion. Folk songs of Hwanghae-do include Gin Nanbongga, Jajin Nanbongga, Byeongsin Nanbongga, Saseol Nanbongga, San Yeombul, Jajin Yeombul, Monggeumpo Taryeong, etc. Compared to those of Pyeongan-do, folk songs of Hwanghae-do display regularity in rhythms in addition to being bright and lyrical. Seodo Japga are songs sung by seated singers. They include Gongmyeongga, Saseol Gongmyeongga, Chohanga, Jejeon, and Chupunggam Byeolgok, although Gongmyeongga (Song of Kong Ming) is the most famous among them. Seodo Sori are songs that have been handed down by people who had to struggle persistently with the northern tribes in Manchuria to survive. Their melodies contain the sentiment of such people. Songs like Susimga, Gwansanyungma, and Baebaengigut have been designated as important intangible cultural heritages. Gwansanyungma is based on a poem of Du Fu, a poet of the Tang Dynasty, China, lamenting his being unable to return home due to rebellion. Baebaengigut, which is often compared to the pansori (epic chant) of the southern provinces, is a story about Baebaengi (a maid who died young) as told humorously by a singer who mixes folk songs with gags and dances.