The Norae－karak songs sung by Seoul shamans have the same style as Sijo, which have a history of 600 years. In 1946 Lee Hee Seung conjectured that Sijo was derived from shaman Norae－karak. On the contrary Jang SaHoon insisted that Norae－karak was only a by－product of Sijo in late 19th century. The primary function of Norae－karak songs is the inviting gods(ChongBae) to the shamanic service. That\'s why shamans song Norae－karak first at the each part of the rituals. After that they lessen the quantity of that songs. Amusing gods is the second function of Norae－karak songs. And the later half is for the fortunes and wishes of the human, the prayers. When we say that shaman ceremonies (Goot) are for inviting gods and wishing man\'s hope, we can also say that the Norae－karak songs are the condensed form of the entire ceremony. But in the shaman\'s JIn－O－Gui service they change the contents of the Norae－karak songs. Instead of wishing for the living human, they wish for the dead to transfer to the heaven and live a happy life. We understand that the Norae－karak songs are the indispensible elements of Seoul shaman service. It is hard to accept the idea that Norae－karak songs came into being in the late Chosun dynasty. As the GongSoo and ManSuBaJi are esseintial to Seoul shaman ritual, so are the Norae－karak songs.