Abstract: The object of the article is the Turkic ethnic groups of the Lower Volga region, which carry their own long-established ethnomusicological traditions, at the same time interacting with each other, related by language group, religion. The subject of the article is the phenomenon of dialogic and polyphonic cultures of the Turkic ethnic groups of the Lower Volga region. The author examines in detail such aspects as dialogism, polyphonism of cultures, which give answers in understanding the centuries-old ethno-cultural processes of interaction and mutual influence. Special attention is paid to the genre and stylistic community of samples of epic khushavaz, the genre of "conversation in saza", instrumental plays of the wedding folklore of the Yurt Tatars and Nogai Karagashes. Typological phenomena include the peculiarities of the ladointonal organization of melodies and plays, groups of intonations with typical properties and acting as stable components are identified in intonation dictionaries. Also, the rhythmic organization that unites multi-genre melodies acts as stable elements. Considering that this problem is interdisciplinary in nature, the methodological foundations were the concepts of Russian philosophers: M.M. Bakhtin, Y.M. Lotman, D.D. Likhachev, as well as the concepts of leading Russian ethnomusicologists: V.A. Lapin, N.I. Zhulanova, etc. Consideration of the principles of the mechanism of dialogue and polyphonism of some Turkic cultures with others united by one region, related by language group, religion, but still bearing their own long-established ethnomusicological traditions, is poorly studied both for the region of the polyethnic Lower Volga region, and in particular, the Astrakhan Region, and in general, in ethnomusicology. This confirms the relevance of this study. but still carrying their own long-established ethnomusicological traditions, it is poorly studied both for the region of the polyethnic Lower Volga region, in particular in the Astrakhan Region, and in general, in ethnomusicology. This confirms the relevance of this study. The main conclusions of the conducted research are the expansion of their own musical genre system in the context of dialogism of cultures.

Abstract: Publications on musical folklore of the Turkic ethnic groups in the contact zone of the Astrakhan region (Tatars, Nogay Karagashs, Turkmen, Kazakhs) available at the moment are inconsiderable in number. The musical folklore of the Turkic groups of the Lower Volga region is stratified on the basis of expedition materials, historical, bibliographic sources by means of identification of dialectal, supradialectal and region-wide layers of traditions, as well as of active common Turkic regional layer of music of oral tradition. Preserving the identity of culture of the Turkic ethnic groups, the article considers musical genre parallels and exchanges that lead to the enrichment of cultural heritage of these traditions and identification of the polyethnic cultural space of the Lower Volga region. Live processes in the oral music tradition are continuing at this time, which proves the relevance and prospects of the subject matter of the article. Exploration of these folklore traditions in a comparative aspect gives grounds for more accurate interpretations of modern issues related to identification and self-identification of the Turkic ethnic groups of the Astrakhan region.