Introduction. At present, people’s interest in the historical and ethnocultural heritage hasincreased, and the desire to preserve traditional values for future generations has grown stronger.Song recordings made in the 19th – 20th centuries are evidence of the developed musical and songtradition of the Bashkir people. Due to the collecting efforts of M. A. Burangulov, A. N. Kireev,S. A. Galin, N. D. Shunkarov and others, a whole layer of folk songs has been preserved. Duringexpeditions that have been intensified since the beginning of the 21st century by the Institute ofHistory, Language and Literature of the Ufa Scientific Center of the Russian Academy of Sciences,folklorists are working hard to multifacetedly cataloguize folk knowledge, on the basis of which onecan judge the state of traditional modern folklore of the Bashkirs. In our understanding, ‘modernfolklore’ is folklore that has existed since the middle of the 20th century to the present, regardless ofthe environment of existence. Goals. This work aims to consider the genres of traditional musicalfolklore of the Bashkirs that have survived today, to give a brief description of them, and also toanalyze them from the viewpoint of assessing the modern spiritual state of the ethnos. Unlike othergenres, musical genres are well preserved in the memory of the population. It is the song and takmaksthat are the main genres of modern Bashkir oral and poetic creativity, which makes it possible toreveal the dynamics of the development of folklore. Materials and Methods. The research is basedon the author’s expedition materials collected in the 21st century in different regions of the Republicof Bashkortostan and beyond, where the Bashkirs live compactly. They retain collective axiologicalattitudes and serve as a way of expressing shared emotions. These genres have a high level of demandamong the population and therefore quantitatively prevail in expedition records. Folk songs are kept inthe memory of people — bearers of folk musical culture, and are not recorded by them in writing. Thetransmission of musical and folklore works occurs orally. This means that any folk song is perceivedand absorbed by each new generation by ear directly at the moment of sounding. Occasionally, songscan be recorded along with their stories and legends. The availability of songwriting histories is acharacteristic feature of Bashkir folk songs. Many songs lose their names over time, but they do notcompletely disappear from the memory of the people, as evidenced by the comments of informantscharacterizing these works in expressions, such as ‘my mother’s song’, ‘this song was performed bymy father’, etc. This phenomenon reflects the strong cultural connection between generations, whenperformers with special trepidation cherish the memory of their relatives and can reproduce the tuneonce performed by their father or mother. Along with drawling songs, short four-line songs without atitle, drinking songs and takmaks are also common. Takmaks, in turn, are distributed not only orallybut also in writing. Modern takmaks are distinguished by great mobility and efficiency, they instantlyrespond to urgent problems. In the light of recent events, takmaks have appeared on the topic of apandemic, self-isolation, and online training. Results. A review of folklore materials collected inrecent decades shows that the musical genres of Bashkir folklore continue to exist, which means thatit is necessary to study not only the current state of the Bashkir song heritage but also its evolution.  The folk song, folk singing traditions must be passed on to the younger generation, and only then thefolk culture will develop and be preserved for future generations.