In the mid-1960s, Shii Wei-liang(史惟亮)and Hsu Tsang-houei(許常惠), the two young composers launched “The Folk song Collected” Movement(「民歌採集」運動). Together they worked with several college students majored in Music, amateur of music, or music teacher of elementary/junior high school and had down serial small-scale collection before the climax of the movement-“The Folk Song Collected Team in Summer Session”(暑期民歌採集隊)subsidized by China Youth Corps(救國團). Almost all of these actions were reported and gained attention through the promotion of newspapers such as Taiwan Shin-Sheng Daily News(臺灣新生報), United Daily News(聯合報)…etc. Besides, Shii’s and Hsu’s diaries of “The Folk Song Collected Team in Summer Session” (暑期民歌採集隊) were published on Taiwan Shin-Sheng Daily News(臺灣新生報), and related essays or short reports were also published during or after their actions. Starting from the mid-1980s, “The Folk Song Collected” Movement(「民歌採集」運動)gradually become one of the most important steps when scholars illustrate the development of Taiwan Ethnomusicology. Also, more and more reviews or research were printed. However, most of them are not lengthy articles and mainly used Shill’s and Hsu’s writings as their references. These all lead to the blurred and simplification of this movement. Furthermore, some researcher even tends to identify “The Folk Song Collected” Movement(「民歌採集」運動)with “The Folk Song Collected Team in Summer Session”. Therefore, this paper will review and question former research at first; broaden the references to other collectors’ writing at the second; then reconstruct the motive, process, and results of “The Folk Song Collected” Movement(「民歌採集」運動). Finally, based on the reconstruction, this paper will investigate Shii’s and Hsu’s methodology at that time, and proposed its meaning toward the history of Taiwan Ethnomusicology development.