This study examines the notation patterns of sigimsae (ornamental inflections) in Jungdaeyeop found in 18th-century geumbo (zither manuscripts), with the aim of elucidating the aesthetic characteristics and evolutionary processes of geumgon music during the late Joseon Dynasty. The analysis confirms that the 18th century was a pivotal era marked by significant quantitative and qualitative advancements in left-hand sigimsae techniques. Through manuscripts such as Hangeum Sinbo, Sinjak Geumbo, and Eoeunbo, nonghyeon (vibrato) and various playing techniques became increasingly refined, while the introduction of complex symbolic systems for sigimsae dramatically expanded the scope of musical expression. The subsequent simplification of sigimsae in contemporary court music (jeongak) scores should be interpreted not as a decline in expression, but as a shift in notation systems resulting from the internalization of performance conventions—a transition where visible symbols moved into the realm of invisible, embodied performance. Furthermore, the transition from Jungdaeyeop to Sakdaeyeop reveals a structural shift in musical aesthetics, moving from the ornamentation of yeoeum (lingering sound) through sigimsae toward a dynamic aesthetic centered on rhythm and melody. The fact that sigimsae elements, which were reduced in court music, migrated to folk genres such as sanjo and were recontextualized suggests that sigimsae has sustained its vitality through cross-genre movement. This study is significant in establishing that the reinterpretation of 18th-century sigimsae provides an essential academic foundation for the restoration of ancient scores and the creative succession of musical traditions.