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Sipjjapuriga is an important piece of music that occupies over 20 percent of cheonju gasa (天主歌辭; Catholic verse/words) of more than forty pieces that were studied in music part. This piece of music has been much favored by many people, and “iljjana hanja deulgo ba” as a text/ word shown in Gaksseoritaryeong (= Jangtaryeong) constantly appears in this song. Gaksseoritaryeong is also called Jangtaryeong that was sung by Gaksseoripae („pae‟ = band). This article focuses on examining the background and characteristics of Sipjjapuriga that was brought about the process of fusion between Gaksseoritaryeong and cheonju gasa. Gaksseoritaryeong had been developed as Jangtaryeong in each region by the itinerary yein (professional entertainers) such as Gaksseoripae, punggakjaengi, chorangi in the 19th century. Since then part of Sutjjapuri and refrain was added in it in the early 20th century. The praising words of “heojeolssigona deureoganda” also added to the introductory section. It has mostly been sung in the Gyeongsang provinces and consists of menaritori. Sipjjapuriga follows the only sutjjapuri (solving numbers) section except for the introductory section or concluding one of Gaksseoritaryeong. Its date probably goes back to the 1920s-30s upon the basis of its words/verse and social atmosphere contained in the music, and its writer (lyricist) seems to be a conscious priest or devoted Catholic. The content of saseol (a text/lyric/word) is that such Catholic doctrines as cheondangjinbok, yesutansaeng, chimyeongbokja developed into the text of “iljana hanja deulgobwa, ijana hanja deulgobwa” that are the numbers from one (1; „il‟) to ten (10 „sip‟). The recorded words/ lyrics can be slightly different from singers to singers, but its content hardly changes. In terms of the constituent tones in music, the features of gyeongtori and menaritori of folk songs are reflected, but it appeared to be largely the jeongak style in relation to its melodic progression. The pentatonic pyeongjo (平調) consisting of „sol-la-do-re-mi‟ appeared the most as six pieces of music, and gyemyeonjo (界面調) has 2 while menaritori is one piece. A characteristics of the cheonju gasa Sipjjapuriga includes a simple repetition, conjunct progression and the occurrence of several cadence tones. This result derives from that cheonju gasa seems to be hybridism emerged from the processes of settling down in Korea.