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Yeongsanhoesang in Daeakhubo(大樂後譜, 1759) has two melody lines. The first melody was a copy of the Yeongsanhoesang in Hangeumsinbo(韓琴新譜, 1724). The duration of each tone of the original melody might be changed by using the mensural notation. The scores in Hangeumsinbo do not show the duration. Yeongsanhoesang in Daeakhubo has many problems. One of the biggest problems is that only Yeongsanhoesang was written in six great net-rope notation made up of 20 squares. All the other pieces in Daeakhubo were written in the same six great net-rope notation made up of 16 squares as that used during the reign of King Sejo(世祖, 1455~1468). Recently it was found that Yeongsanhoesang in Daeakhubo turned out to be a fake that had been inserted much later days. Through the analysis and the comparison of the two melodies, it was proved that there is no relationship between them. The second line that has no similarity with the first was full of skips without any possible reasons. Several different opinions that had been made on the second melody proved to be wrong. The original Yeongsanhoesang score in Daeakhubo disappeared and a forgery was inserted. The forgery was of the same six great net-rope notation made up of 20 squares as that of Sokakwonbo(俗樂源譜). Both Sokakwonbo and Yeongsanhoesang in Daeakhubo were made at the same time by the same people with the same purpose. The fact that the wood block printed notation they used are just same proves it. The notation of 20 squares was made to get rid of Korean traditional six great net-rope notation made up of 3-2-3-3-2-3 squares that was made on the basis of Yin-yang theory. Getting rid of the original 3-2-3-3-2-3 square notation was one of the musts in the process of changing all the Korean court music into one-tone one-beat style like Royal Ancestral Shrine Music. Consequently, all the Korean court music lost the original regular rhythmic cycles.