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The question of how to transmit the Korean traditional Music to next generation is very important issue even though the works of instrumental teaching method has been stagnant compare to other accomplishments that the studies on Korean Traditional Music has made today. Considering the matter of teaching how to play the Korean traditional musical instruments, I think it should not be a simple transmission that repeats the music score itself bur should be an inclusive educational method that includes the aesthetic sentiments, the beauty and even the original esprit inherent in the Korean traditional music. In this point, I consider teaching performance the traditional instruments does not only mean training the melody and rhythm but it does understanding the more essential element of the music. To develop a fundamental study for establishing teaching method for Korean traditional instrument, I took gayageum for the case of this study because I found that gayageum has had some of the most urgent and significant reasons than any other Korean traditional instruments. The first reason is that gayageum has the largest population any other Korean traditional instruments. Secondly, today, gayageum players are demanded to keep up with new performance style to be able to digest the abundant creativity of contemporary music pieces, not to mention of keeping practice the classics such as Jeong-ak and folk music. Additionally, the recent invention of the new instrument improved by the old style of gayageum pressures the players to make up new performance method. For this study, I started from the beginner's course for gayageum and developed a preliminary stage that a person first handles gayageum, discovers the main features the instrument has, learns the performance skills step by step such as understanding reading scores, making oral sounds, recognizing rhythm and finally mastering playing a small exercise piece by him/herself. Through this, I ultimately intended to demonstrate a basic process that a person raises his/her ability of appreciation of the gayageum music and furthermore, comprehension the essential part of Korean traditional music. To summarize, I emphasized the need of an establishing theoretical foundation for teaching gayageum performance for the beginners, which is to be combined with the way of learning traditional music and the new methodology attempted by modern educational sectors. Secondly, I suggested building up a unified educational method which is able to provide the three integral elements of Korean traditional music so called Ak (music), Ka (song), Mu (Dance). Thirdly, I considered the fact that the text books currently used in the fields were neglecting the importance of the basic knowledge of instruments, keeping a right posture and gaining rightful performing skills and so on. In this point, I asserted the need of an analysis of the renowned master's teaching methods not clearly arranged yet and also suggested a comparative study on the text books published in both the South and North Korea to take advantage of each side has have.