The Gagok is the most important cultural heritage that artistically contains our pronunciation, breathing and the expression of utterance in leisurely melody. Sensing the flavor of the Gagok deeply, the singer is practically required to acquire not only simple appreciation, but also singing activity through body movements and tones of voice. For this reason, the results of the research suggest several methods of teaching and learning such as pronunciation, vocalization, Sigimsae and a main item of melody on the basis of the Budleeun, the topic music of this research paper. First, this research paper deals with the pronunciation guidance of vowel and consonant by separating each movement of the Budleeun. A consonant sound of the Gagok should be pronounced shortly and clearly, and a fortis of the initial sound also needs to be phonated by purifying to a lax consonant. In case of a diphthong, it is necessary to be pronounced by undoing a monophthong. At this moment, the instructor ought to guide to rise up the student’s lower jaw during the change of the vowel. Second, the vocalization of the Gagok and the expression of Sigimsae should be guided by connecting with pronunciation. Moreover when it comes to the detailed expression, giving repetitive chances to practice through easy etudes is more effective. Third, the application of Jangdan by hands and Sigim by hands facilitates more effective singing with same breathing through matching the flow of a tempo. Furthermore the movement of sound can be figured out easier through the expression of Sigimsae visualized. Thus, this paper handles the expression methods of Jangdan by hands and Sigim by hands and presents contents of guidance through the concrete example of the beginning melody of the Budleeun. At the beginning stage of learning melody, it is more appropriate method for the teacher to guide students to do Jangdan by hands and Sigim by hands through Yeulmyung song, and then if the students get in the height of melody, the teacher can suggest the use of lyrics with Jangdan and Sigimsae. Suggested several guidances can play an effective role in teaching method for female Gagok singing. Consequently general student can sing the Gagok reflecting enough to be able to emphasize its features. Therefore this author hopes suggested teaching methods of Female Gagok singing are of help to educational activities for students. Moreover, on the basis of this research paper, more studies are expected in other teaching methods of Female Gagok singing through different melodies.