This article provides a comprehensive analysis of the musical folklore of the peoples of Dagestan, providing a stylistic attribution and classification of vocal folklore. The composition of genres is described based on their inherent patterns and the understanding of the genre’s nature by the bearers of the tradition themselves. Today, it can be concluded that musical folklore remains a phenomenon of its own milieu, overshadowed by the widespread popularity of indigenous crafts. While significant achievements and discoveries have been accumulated in the fields of history, archaeology, ethnography, the publication of texts, and the study of oral poetry, which have been deeply and comprehensively reflected in the works of Dagestani scholars, musical folklore studies have long been dominated by a mere tendency to collect, accumulate, and publish materials. Therefore, a theoretical understanding of the distinctive traditional musical culture of Dagestan is timely and relevant today. This study is based on exploratory fieldwork and is connected with an analysis of the traditional song folklore of the peoples of Dagestan. The theoretical constructs are based on data obtained through a combination of fieldwork, material analysis, and office processing. The material is described primarily from a synchronic perspective. Interpretation of the analytical results allows us to correlate the musical folklore of the peoples of Dagestan with the folklore of other peoples of the Caucasus and Transcaucasia, and to identify the nature of the connections between them — typological, genetic, or contact-based.

Keywords: musical folklore, Dagestan, genre, classification, style, folk terminology, intonation

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Musical folklore of the peoples of Dagestan: structure and artistic features