These days, contemporary Modern Korean traditional orchestra music, as the prominent genre of contemporary Modern Korean traditional music, has a variety of works being performed. The history of contemporary Modern Korean traditional orchestra music began in 1939 with composer Ki-su Kim and culminated with the renaissance of the 1980s which produced a number of works by composers such as Hui-jo Kim, Beom-hoon Park, In Pyung Chun and Dae Woong Baek. Nevertheless, insufficient research has been carried out on the traditional methods of traditional Korean orchestral music especially with a focus on its most important contemporary version. Also there exists no notable achievement in research on notation with regard to the full score of contemporary Korean traditional orchestral music. This is because the notation for the full score of contemporary Modern Korean traditional orchestra music has been regarded as a task that does not require special knowledge or skills and an insignificant step in wrapping up a work of orchestra music. As is often the case, even well-organized orchestra music by a composer runs into mistakes in performance due to errors in notation of the full score or partial score or crude notation. Hence, this study examines the existing notation of full scores of contemporary Modern Korean traditional orchestra music to identify and discuss its issues in order to make some proposals. As Western music was introduced to Korea, contemporary Modern Korean traditional orchestra music, as part of contemporary Modern Korean traditional music has developed in the order of ensemble, concerto, chorale and Asian orchestra. With the emergence of the conductor playing the part that was performed by Jib-bak-ag-sa in a traditional Korean orchestra, and in order to cover a large-scale ensemble, the music notation for Modern Korean traditional orchestra music that appeared in 1930 adopting the full score with five-line staff. The full score notation has developed through small and gradual changes. Instruments were arranged on the full score in the order of wind, percussion and string, reflecting the early method of Western orchestral music and considering the particular characteristic of Korean traditional musical instruments. Currently, full score notation mostly adopts the arrangement in the order of wind, string and percussion, but it often varies depending on composers or with individual works in response to specific compositional traits or the inclusion of some special instruments. The lack of a uniform notation style seems to be a critical issue, for it can cause confusion with the conductor or the performer. Furthermore, it may disturb the fundamental harmonic composition in organizing an orchestra. An alternative, in case a special instrument joins in, would consist in basically adopting the arrangement of instruments for notation in the order of wind, string and percussion while determining the position of the group according to classification of musical instruments. Second, in instrument range notation, if special instruments like Geomungo and Daeajaeng sound one octave lower than they are written, an "8" should be inscribed underneath the clef in order to avoid confusion. Most important, efforts should be made to achieve a precise notation of details with a view to absolutely clear communication of the composer`s intention. Composers, who understand the importance of music notation better than anyone else, must not forget that only when they can achieve a clear expression by minimizing ambiguities on full score notation so they can create the best possible performance.