구음검무는 진주검무를 재구성하고 다소 재안무한 측면은 있으나, 진주검무의 보유자였던 김수악의 구음에 맞추어진 춤 특징과 역시 진주검무의 보유자였던 성계옥의 춤동작 등이 생생하게 녹아있으며, 솔로나 2인, 4인, 8인등의 다양한 형태의 공연양식을 접할 수 있다는 점에서 구음검무 연구의 목적 및 필요성을 찾을 수 있다. 주역의 철학적 요소는 태극, 음양, 사상, 팔괘, 64괘 등 명확한 틀이 있다. 이러한 주역의 철학적 구조를 구음검무에 깃든 춤동작과 연관 지어, 구음검무를 주역의 구조적 관점에서 살펴보고자 한다. 즉 주역의 근간을 이루고 있는 사상적 요소가 전통춤 전반에 자리하고 있는 춤 철학이지만 구음검무의 춤구성이 주역을 이루고 있는 구조와 비슷하며 그 양식적 측면이 명확하다는 점 등이 주역과 구음검무를 연관 지어 연구하도록 하였다. 따라서 주역에 깃든 태극, 음양, 사상, 팔괘의 관점을 구음검무의 네 부분으로 된 춤 구성으로 살펴보았다. 이렇게 동양사상과 전통춤을 연관 지으려는 시도는 현재 춤이 단지 움직임의 형태에만 고착되고 있기에, 전통춤 인식을 좀 더 춤의 본질로서 접근하고자 하는 시도와 함께 그 중요성을 언급하고자 하기 때문이다. 더불어 춤이 진정 내면의 내재율을 반영하는 영성이 깃들어야 한다는 점을 주역에 깃든 철학과, 전통춤에 깃든 춤 구성과 양식적 특징으로 연관 지어 고찰한다는 면에서 본 연구의 의의가 있다 하겠다.

From the view of right succession of tradition, what is nearer to its authenticity? If contemporary traditional dance repertory keeps the order as it was in the past, is it right succession of tradition? Although a dance has a little different order, if characteristics of dance, its spirit, form etc. are fully succeeded, it would be nearer to desirable succession of tradition. For right succession and modification of tradition, various attempts in various types would be prerequisites-person who succeeds a dance from a possessor of human cultural property; work to reconstruct a tradition without damage to its nature; attempt of re-choreography based on tradition; creation of work completely independent from tradition, the tradition is only used as a material of work etc. In this sense, it is thought that to study Gueum Geommu, not Jinju Geommu is another attempt. First, Jinju Geommu was named as the 12th intangible cultural property by law in 1967. The original form presented at Court of Jinju Geommu has been preserved as it was and succeeded until today. But Jinju Geommu has its limitations-some dancers can not join or various forms of performance are not easily available-because of strict rules: to stick to eight dancers, dancers only born from Jinju etc. Therefore, Gueum Geommu reconstructed Jinju Geommu and in some degree, it shows re-choreography. But the characteristics of dance matched with Gueum by Kim Suak, the possessor of Jinju Geommu and dancing motions of Sung Kyeok are vividly melted down in the Gueum Geommu. And various forms of performance like solo, two, four, eight dancers etc. are available. These points make this study of Gueum Geommu find its aim and necessity. This study related philosophical structure of the Book of Changes to dancing motions dwelled in Gueum Geommu and then, tried to investigate Gueum Geommu from a structural viewpoint of the Book of Changes. The ideological factors of the Book of Changes could be dance philosophy resided in the whole traditional dances. And the composition of dance in Gueum Geommu is similar to the structure of the Book of Changes and its aspect of style is clear, which led me to this study. Accordingly, this study investigated the composition of Gueum Geommu composed of four parts comparing to the viewpoint of the Great Absolute, yin and yang, four signs, eight trigrams in the Book of Changes. But this study has its limitations-the eight trigrams was subdivided to representative dancing movements in Gueum Geommu composed of four parts; the quoted text of the Book of Changes in this study mostly depends on 『Lecture on the Book of Changes』written by Lee Gidong. Although the Book of Changes applies to varied fields like Hangeul, architecture, astronomy, oriental clinic, laws, education, oriental painting etc., a few studies were tried relating to the Book of Changes in dance. This situation adds the necessity of this study. It has a meaning that Gueum Geommu is investigated from the Book of Changes` viewpoint-Gueum Geommu, as a representative basic dance among traditional dances more applicable for the Book of Changes` than other fields, includes historicity and stylish dance structure. This kind of attempt to relate oriental thoughts to traditional dance aims at approaching nearer to the nature of dance and stressing the importance of the traditional dances going beyond current situation that dances adhere to only the form of movements. Furthermore, this study has another meaning in investigating the point that dance should include divine nature reflecting the inner rhythm. This point could be made by the connection between the philosophy of the Book of Changes and dance composition and characteristics in style of traditional dances.