This study explores the historical transformations of Sehwanip (細還入) during the 18th and 19th centuries through a comparative analysis of traditional geomungo scores, with the aim of identifying educational implications grounded in the principle of Gwonbyeonjido (權變之道, Principle of Adaptive Change). Rather than approaching Sehwanip as a fixed composition belonging solely to court ritual, this study situates it within the pungryubang tradition of literati music culture, where flexibility, reinterpretation, and performer agency were embedded in musical transmission.Following existing discourse on mihwanip, Boheoja-saghwanip from the 1724 anthology Hangumsinbo was taken as an early prototype of Sehwanip, and subsequent versions preserved in the Korean Musicology Archive Series were examined. The analysis included six musical dimensions: terminology, sectional structure, formal organization, gwaebeop (left-hand fingering), munhyeon-jubeop (right-hand plucking technique), rhythmic pattern, and melodic contour.Three key findings emerged. First, Sehwanip did not retain a stable title; interchangeable names such as saghwanip, sohwanip, jandodeuri, and sehwanip-sangseong coexisted across manuscripts, revealing a culture of fluid categorization. Second, from the 19th century onward, clearer sectional demarcation appeared, likely reflecting performance practices in which Sehwanip was paired with Yeongsanhoesang as part of a byeolgok suite, though its internal structure varied between sources. Third, the frequency of gwae modulation gradually stabilized, suggesting the emergence of shared performance conventions.These findings indicate that Sehwanip functioned not as a static artifact but as a flexible framework continually reshaped through performer interpretation. This aligns with Gwonbyeonjido, which upholds essential order while permitting adaptive transformation. Pedagogically, this principle offers a compelling foundation for learner-centered music education. Rather than presenting historical notation as a closed canon, educators may position goakbo as an open system that invites reconstruction, variation, and creative authorship. Thus, Sehwanip serves not only as a historical repertoire but as a model of adaptive tradition suitable for contemporary music pedagogy.