The performance of Pyeongyang Ethnic Music Troupe, on December 10, 1990, in Seoul National Theatre was a great success, not only among Korean music specialists but among general public. They have also performed a day before at the Seoul Arts Center. In October, the same year, Seoul Traditional Music Troupe received a warm welcome at Pyeongyang. Also in December, for 1990 Year's-end concert for Unification Traditional Concert, both Seoul Traditional Music Troupe and Pyeongyang Ethnic Music Troupe have together performed their music. People were especially interested since it was the first concert in 45 years since the separation, where the South and the North have performed together. This concert revealed the reality of each party and even though that reality showed two different political systems, it also confirmed that they belonged to one identity; one ethnic entity, raising more people's expectations for cultural unification. Especially noteworthy among the repertoire for Pyeongyang musicians was the solos for the danso, oknyugeum, and gayageum, as well as the orchestrated energy of the ensemble. This was because the instruments used by the North have all been modified, which gave great inspiration to the musicians and instrument renovators in the South. This indicates that the North has succeeded in its communication and musical innovation with its audience in terms of instruments, composition, and performance venue. If music is an expressive medium, as well as a creative and communicative art, the general public should be able to participate in the process of its expression, creation, and communication. The North Korea's sense of purpose in finding such meaning in their arts is reflected in the renovative nature of their instrument development and orchestration. Therefore, this paper will investigate the state of innovation and communication found in the North Korean Ethnic orchestra, with a study of its past history.