Gyeongseo-do master singers among the gramophone records, which were mainly released between 1910 and late 1960, was identified and the aspect of acceptance and musical characteristics of the music were reviewed. To that end, first, those singers that recorded Gyeonggi songs and those singers that recorded Seo-do songs were identified centering on the gramophone record list and then, based on the results, those singers that recorded the songs of both regions were selected. Thereafter, the data on the participation of Gyeongseo-do master singers selected from the gramophone record list in the Nam-do music recording work were examined to review the genres of music accepted by them. Finally, the musical characteristics of <Seongjupuri>, which accounts for a large amount of data recorded by Gyeongseo-do master singers, were examined and based on the results, the aspect of acceptance of Nam-do music by the Gyeongseo-do master singers. The results are summarized In the gramophone record list, there are 370 Gyeonggi vulgar songs and 496 Seo-do vulgar songs. In these records, the Gyeonggi vulgar songs were recorded by approximately 70 singers and the Seo-do vulgar songs were recorded by 58 singers. Among them, the number of singers who recorded both Gyeonggi and Seo-do songs was approximately 30. Among these singers, nine singers-Park Wol-Jeong, Park Chun-Jae, Baek-Wun-Seon, Shin Ok-Do, Lee Geum-Ok, Lim Myeong-Ok, Lim Myeong-Wol, Jang Geum-Hwa, and Jae Hak-Seon-participated in Nam-do music record work. Among these singers, Park Wol-Jeong recorded the largest number of pieces of Nam-do music followed by Park Chun-Jae. In particular, the reason why Park Wol-Jeong could record more Nam-do music compared to other Gyeongseo-do master singers seems to be the effects of her father from Nam-do and her husband who was a record planner. The genres of the Nam-do music, recorded by Gyeongseo-do master singers, were folk songs, vulgar songs, and pansori. In addition, such Nam-do music could be found in other genres such as the pansori-based singing in chorus or Changgeuk and creative pansori that changed existing pansori. Except for Changgeuk and the creative pansori, Gyeongseo-do master singers left the largest number of gramophone records for vulgar songs in relation to Nam-do music and among those songs <Seongjupuri> is the most prevalent one. The <Seongjupuri> of Park Chun-Jae and Park Wol-Jeong is of Gutgury rhythms with four beats of three small beats consisting of five tones, ‘Sol-La-do-re-mi’ and the melodies are in conjunct motions. In addition, both singers did not thickly and widely vibrate ‘Sol’, which is the lowest note of the scale, unlike Nam-do master singers, did not vibrate at all in many cases, and when they vibrated this tone, they did so narrowly. Such a form of vibration appears in parts with long beats. The aspect of acceptance can be identified in pansori and Namdo vulgar songs among those pieces of Nam-do music that were recorded by Gyeongseo-do master singers in gramophone records. In the case of pansori, interfacial tones like those in Nam-do pansori were used instead of Gyeonggi type tones or even Gyeongdeurm were changed into interfacial sounds thereby accepting Nam-do pansori as it is. On the contrary, in the case of vulgar songs, Gyeongseo-do master singers reflected the musical characteristics of their regions. Although there are many gramophone records, in which Gyeongseo-do master singers recorded Nam-do music, no such record has been found yet so that the sound sources can be identified in very few cases. Therefore, to concretize the results of this study, the results of analysis of those records should be supplemented after those records are found.