When Je is used in a wide sense, it indicates Yoopa (main flow) that is socially made. In general, when Je is used as predicate term like ¡®....je¡¯¡¯, this Je means Yoopa (school).
Je with the meaning of Yoopa has three concepts: 1) aesthetic characteristics of the music itself (Jo, vocalization); 2) genealogy centering on Hong-Nok Song and Yoo-Jeon Park; and 3) locality. Based on these three concepts, the characteristics of each school can be summarized as follows:
Dongpyeonje
Transmitted from the eastern part of Seomjin River such as Namwon, Soonchang, Gokseong and Gurye, Dongpyeonje adopts the style of Heung-Nok Song who came from Unbong and was called ¡®King of Song¡¯, as the standard. Centering on the expression of Wujo (valiant rhythm), it controls feelings as possible as can. Jangdan that is used in Dongpyeonje is ¡®Daemadi Daejangdan (big tune, big rhythm)¡¯ and it doesn¡¯t use techniques. As vocalization, Tongseong is used so it is strict and each phrase is broken tough.
Seopyeonje
Transmitted from the western part of Seomjin River such as Gwangju, Naju, Damyang, Hwasoon, and Boseong, Seopyeonje adopts the style of Yoo-Jeon Park who came from Soonchang and sent his last days at Boseong, as the standard. Centering on the expression of Gyemyeonjo (sad rhythm), it puts importance on the techniques of vocalization so it uses various techniques. Music becomes lengthened and Eotbuchim (sound and rhythms are crossed) is used. It uses very technical rhythms. In addition, Balim (physical expression and actions) is very much refined.
Junggoje
Transmitted from Chungcheong and Gyeonggi, Junggoje is originated from Sang-Ok Kim who came from Ganggyeong and lived in the same period of Heung-Nok Song. Its musical characteristics are in the middle of Dongpyeonje and Seopyeonje, not belonging to any of them. It has not been succeeded any longer after the rule of the Japanese imperialism.
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