This paper examined the compositional change in Eobusa(漁父詞), converting from nine-stanza to eight-stanza, by the Gagokwonryu' Music Group(歌曲源流 歌樂集團) in the mid-to-late 19th century. There are two types of Eobusa in the collections of songs. One is nine-stanza, and the other is eight-stanza. The former directly inherited the nine-stanza Eobubuga(漁夫歌) adapted by Lee, Hyunbo(李賢輔, 1467∼1555) in 1549; the latter is a direct inheritance of Eobusa, which is one of the contemporary Gasa(歌詞). The change from nine-stanza to eight-stanza in Eobusa holds significance in relevance to the formation of current Eobusa. The change itself was understood as a way to obtain popularity by strengthening entertainment factors in the piece and therefore consumed among the public exclusively in this manner. As a result, eight-stanza Eobusa is regarded as a simple piece reduced in length without considering nine-stanza organicity.
The common notion about the formation of eight-stanza Eobusa is a misunderstanding due to the previous analysis. The Gagokwonryu' Music Group converted the Nine-stanza to Eight-stanza in two stages. In the 1st stage, the number of lines in the 1st verse decreased from three to two, and the 5th and 6th verse - six lines in total- were combined into the 5th verse - four lines-. In the 2nd stage, the number of lines in the 1st verse went back to 3, and the 5th verse decreased from four to three lines. As a result of this conversion achieved through two stages, each verse of eight-stanza Eobusa is formed in three line, giving more stability to the piece -the poetic sentiment develops in a state where the odd-numbered and the even-numbered verse are paired: sailing out(1stㆍ2nd; 出船), sailing(3rdㆍ4th; 行船), return(5thㆍ6th; 歸船) and berth(7thㆍ8th; 碇泊)-, and it also strengthened the mood of Kanngho-eunil(강호은일) even more when compared with nine-stanza. This feature of Eight-stanza Eobusa matches the leisurely and soft six-beat melody of Eobusa, which directly inherited it.