It is after Gwangju’s appointment as a metropolitan city and the team’s participation in Korea Folk Art Festival as an independent team that Gwangju City’s traditional performance culture has rearranged itself centering around Gwangju. Folk art of Gwangju region that took part in the early Korea Folk Art Festval (KFAF) was mainly performed by those who led Gwangsan Nongak.Currently, Gwangsan Nongak is designated as intangible cultural heritage No. 8.Gwangsan Nongak has various gut repertoires such as Mungut, Chulyonggut,Samgut, Deuldangsangut, Madangbalbi, Naldangsangut, Pangut, etc. Gwangsa Nongak has regional foundation of Honam Udo and it has a form of town gut along with Pangut by professional musicians. Therefore, this article examined the principle of tune composition in many gutguri of Gwangsan Nongak and categorized the cultural value of Gwangsan Nongak.Various gutguri of Gwangsan Nongak is composed of regularity and repetition.In addition, Mungut, Madangbalbi, Dangsangut, Pangut, etc are all made up of the same principle and they are not distinct from each other. Gwangsan Nongak reveals various functions of Nongak and the similarities and differences in organization arising from them.In the transmission of Gwangsan Nongak, the logical and rationale-seeking attitude of the first gong-player, Jung, Deukchae is playing an important role. He has endeavored to find the meaning in the organization of Pan and all tunes, and this awareness has contributed immensely to avoiding misrepresentation of Gwangsan Nongak. The universality that appears in musical organization of Gwangsan Nongak is playing a huge role in reorganizing the frame of Nongak in various regions in Jeonnam that are feebly transmitted nowadays. Also, it can be used as a good content for various cultural activities that are taking place in Gwangju Gwangsan area.