This study is focused on the organic relationship that the literary change of the private song leads to the musical change and confirmed the characteristics of the actual Phonograph records. The Sijo has been steadily recorded since the early days of the Phonograph recordss, and among them 13 Sasulsijo albums were released. Singers who recorded the Sasulsijo can be classified into two groups, Choi, Il-won and Ko, Young-tae, male singers, and Park, Wol-jeong, Kim, Ok-hee, and Yoo, Nong-joo, based on their performance repertoire. Male singers who known as master singer of Hyangjesijo worked with Sasulsijo as their main repertoire. And female singers covered not only the Sijo, but also various genres such as Pansori and Seodo-sori. It can be said that this is related to their learning background. The theme of the editorial tone included in the Phonograph records was somewhat refined like the theme of the Pyeongsijo. And it showed a similar appearance to that of other popular singing genres at the time. In terms of editorial embroidery, they sang editorials of as few as 96 to 128 characters. Through this, it is possible to assume that the musically acceptable embroidery among the editorial tones was the sijo of around 130 characters. The melodies of the editorial tone recorded in the voiced record proceeded similarly. On the other hand, in the Baeja method, the aspects of male and female singers appear differently. In the case of male singers, the beat was arranged in consideration of literary character. Female singers sought musical diversity by focusing on the freedom of the editorial tone rather than literary character. However, due to the lack of samples, it is not possible to confirm whether the group that performed the sijo can be classified by gender only with this study, so further research should be conducted in the future.