This treatise is about rules of versification in the mutual relation between Sijo literature and music, targeting Sijo Foot, Sijo song, and Gak and rhythm of Gagok. The mutual relation of Sijo and Sijo song is following. The 1st Foot of first and middle verses in a Sijo is arranged in the 5th rhythm of the 1st Gak in a Sijo song and the 2nd Foot is in the 8th rhythm of the 2nd Gak, and the 3rd one in the 5th rhythm of the 3rd Gak. However, three fourths of the 4th Foot is set in the 5th rhythm of the 4th Gak and the rest of quarter is arranged in the 8th rhythm of the 5th Gak. The 1st and the 2nd Foot of the last verse is arranged in the 1st and the 2nd Gak, and concerning the 3rd Foot, three fourths of it is placed in the 3rd Gak and the rest is in the 4th Gak. In sum, Foot and Gak are partly in unison. The 1st, 2nd, and the 3rd Foot of the first and middle verses and the 1st and the 2nd one of the last verse in a Sijo accord with the 1st, 2nd, and the 3rd Gak of the first and middle verses and the 1st and the 2nd Gak of the last verse in a Sijo song each. Moreover, syllables in the 4th Foot of the fist and middle verses in a Sijo and syllables in the 3rd Foot of the last verse are divided into the 4th and the 5th Gak of the first and middle verses and the 3rd and the 4th Gak of the last verse in a Sijo song, necessarily corresponding each Foot in a Sijo to each Gak in a Sijo song. I believe that those correspondences of Foot and Gak indirectly prove that a Sijo has Foot-rhythm even in a Sijo song. The relation between the Sijo and the Gagok is the following. In a Gagok, only the 1st and the 3rd Foot of the first verse and the 1st and the 2nd of the middle verse in a Sijo are matched Gaks in a Gagok. That means the rate of Foot-Gak matching is relatively low compared to the one of Foot-Gak in a Sijo and a Sijo song. There are three cases that shows the relation between the Foot in a Sijo and the Gak in a Gagok is that one Foot finishes with two or threes Gaks, or two Feet with three Gaks. A Gagok divides three verses in a Sijo into five verses, relocating four Feet of the first, middle, and the last verses in a Sijo in a Gagok- the 1st verse in a Sijo to the 4th Gak, the 2nd to the 3rd, the 3rd to the 5th, the 4th to the 3rd, and the 5th to the 6th. The Foot in a Sijo and the Gak in a Gagok are correspondent in part, and each Foot always finishes with a Gak. The rate of Foot-Gak matching is relatively low, however, the Gagok is the same in point of always finishing the Foot with the Gak. Somewhat I feel uneasy about it, I believe that correspondent of Foot and Gak and completion of Foot with Gak show that a Sijo has the Foot rhythm in a roundabout way.

This treatise is about rules of versification in the mutual relation between Sijo literature and music, targeting Sijo Foot, Sijo song, and Gak and rhythm of Gagok. The mutual relation of Sijo and Sijo song is following. The 1st Foot of first and middle verses in a Sijo is arranged in the 5th rhythm of the 1st Gak in a Sijo song and the 2nd Foot is in the 8th rhythm of the 2nd Gak, and the 3rd one in the 5th rhythm of the 3rd Gak. However, three fourths of the 4th Foot is set in the 5th rhythm of the 4th Gak and the rest of quarter is arranged in the 8th rhythm of the 5th Gak. The 1st and the 2nd Foot of the last verse is arranged in the 1st and the 2nd Gak, and concerning the 3rd Foot, three fourths of it is placed in the 3rd Gak and the rest is in the 4th Gak. In sum, Foot and Gak are partly in unison. The 1st, 2nd, and the 3rd Foot of the first and middle verses and the 1st and the 2nd one of the last verse in a Sijo accord with the 1st, 2nd, and the 3rd Gak of the first and middle verses and the 1st and the 2nd Gak of the last verse in a Sijo song each. Moreover, syllables in the 4th Foot of the fist and middle verses in a Sijo and syllables in the 3rd Foot of the last verse are divided into the 4th and the 5th Gak of the first and middle verses and the 3rd and the 4th Gak of the last verse in a Sijo song, necessarily corresponding each Foot in a Sijo to each Gak in a Sijo song. I believe that those correspondences of Foot and Gak indirectly prove that a Sijo has Foot-rhythm even in a Sijo song. The relation between the Sijo and the Gagok is the following. In a Gagok, only the 1st and the 3rd Foot of the first verse and the 1st and the 2nd of the middle verse in a Sijo are matched Gaks in a Gagok. That means the rate of Foot-Gak matching is relatively low compared to the one of Foot-Gak in a Sijo and a Sijo song. There are three cases that shows the relation between the Foot in a Sijo and the Gak in a Gagok is that one Foot finishes with two or threes Gaks, or two Feet with three Gaks. A Gagok divides three verses in a Sijo into five verses, relocating four Feet of the first, middle, and the last verses in a Sijo in a Gagok- the 1st verse in a Sijo to the 4th Gak, the 2nd to the 3rd, the 3rd to the 5th, the 4th to the 3rd, and the 5th to the 6th. The Foot in a Sijo and the Gak in a Gagok are correspondent in part, and each Foot always finishes with a Gak. The rate of Foot-Gak matching is relatively low, however, the Gagok is the same in point of always finishing the Foot with the Gak. Somewhat I feel uneasy about it, I believe that correspondent of Foot and Gak and completion of Foot with Gak show that a Sijo has the Foot rhythm in a roundabout way.

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Foot, Gak, rhythm, versification of Sijo, Gak rhythm, Sijo, Sijo song, Gagok