Abstract: This article aims to highlight the significance of song folklore recordings when documenting the scientific heritage of the first scientists and researchers of Tuvan musical folklore – A. N. Aksenov and E. V. Gippius – during the period 1927 to 1965. The methodological basis consists of the principles of historical continuity, objectivity, a holistic approach to the analysis of the history of the development of traditional Tuvan vocal music and the prospects for its development. The study of folk music is inextricably linked with the development of professional art. Currently, the works of visiting Soviet composers, melodically associated with Tuvan folklore, are practically not performed in the repertoire of concert programs of creative collectives of the city of Kyzyl. One of the main obstacles to their further application is the absence of these works in the curricula in music educational institutions. The issues of the prospects for the use of preserved sources in the digital archive of the Academy "Xөөmei" are analyzed. The question is raised about the need to create a single institutional repository of works and materials on the work of Russian specialists, musicologists, and scientists who studied the musical culture of Tuvinians in the Soviet period. Modern Tuvan musical folklore was largely based on the results of Aksenov's research, whose activities served as the main reference point for the study of Tuvan folk music and contributed to the flourishing of Tuvan musical art in Tuva.

Abstract: In this article, the concept of ʻөpei xөөmeiʼ is a male lullaby sung by the substyle xөөmei, based on the basic type of Tuvan throat singing. The type of folk music playing that exists in traditional culture is considered by the authors in historical, musicological, psychological and ethnopedagogical aspects. The purpose of the article is to determine the essential meanings of the lullaby xөөme, reflecting the worldview, type of management, religion; poetic thinking, conveying the attitude to the child as the highest value of the family. The article shows the performing traditions of the lullaby xөөmey (chants and chants, verbal texts, specific timbre signs, etc.). The authors pay attention to the presence of a single binding in the system of performing traditions of Tuvinians (throat singing, shamanic kamlaniya, training of queens of domestic animals), which are based on belief in the magical power of words (spells, appeals, well-wishes). In the study of this phenomenon, a set of methods was used: systemic, historical-typological, cultural-historical, ethno-cultural.

In the system of throat singing of Tuvinians, distinguished by a variety of species and their varieties, the lullaby xөөmei has completely preserved its original meaning and function as a form of sound-making with an original way of sound production. An in-depth analysis of this phenomenon in Tuvan culture has shown that its structural components are its own performing traditions (chants and chants, verbal texts, timbre colors, etc.); meanings characterizing the traditional worldview, type of management, ethno- and cultural genesis, spiritual element of consciousness, religion, etiquette, etc.
Research and popularization lullaby xөөme are in demand in modern society in solving the problems of upbringing at an early age, when it becomes important to take into account the patterns of reflection of consciousness associated with the area of development and landscape, worldview and value orientations of the family, clan and people.