The name of Korkut has long attracted the attention of the world scientific community. In the folklore of many Turkic peoples related to the ancient Oghuz tribes, there are legends and myths about Korkut, which describe the heroic deeds of the Oghuz heroes. The legacy of the legendary Korkut's music and epic has attracted the attention of researchers since the middle of the 19th century. Scholars from Russia, Türkiye, Azerbaijan, Turkmenistan and Kazakhstan have written a wide number of research papers, which highlighted the problems associated with the main epic legacy of Oghuz antiquity -- "The Book of Dede Korkut" or "The Book of Korkut Ata". The literary artifacts associated with the name of the legendary Korkut have gained worldwide fame. Both versions of the Oghuz manuscript "Kitab-ı Dede Korkut Ala Lisan-ı Taife-i Oğuzan" (Dresden) and "Hikâyat-i Oğuznâme-i, Kazan Beğ ve Gayrı" (Vatican), which have come down to us, are now the focus of scientific consideration. The abundance of cognitive information and onomastic names in the epic increasingly attracts the attention of folklorists. It is no secret that in the Kazakh folklore of the early 20th century, the Soviet ideology imposed a ban on the development of the epic heritage of Korkut. Moreover, closer to the middle of the 20th century, the Oghuz heroic epic was evaluated as a creative product of the feudal era. For this reason, some peoples of Oghuz origin openly ignored the folk heritage. Korkut is a representative of the Oghuz tribe. In addition, his name has existed in Kazakh folklore for a very long time. Even before the 1917 Revolution, several legends about the Korkut tombstone were recorded by famous ethnographers. Kazakh scholars began to study folklore materials about Korkut at the turn of the 1970s. This topic was first voiced by Professor Auelbek Konratbayev, who published several articles, then translated V. V. Bartold's edition of "The Book of my grandfather Korkut" into Kazakh. In recent decades, especially after the gaining of independence, folklorists, musicologists, and performing musicians have begun to deal with this problem. It got to the point that some of them started talking about the newly found legacy of the legendary Korkut - musical compositions for the bowed instrument - kylkobyz. Without referring to reliable sources, without arguing the origin of the newly discovered musical compositions attributed to Korkut, individual authors began to publish their rather detailed research in the form of scientific articles and even books. Despite the existing criticism in international publications, the wave of pseudo-researchers is growing. The questions related to the heritage of Korkut are overgrown with all sorts of tall tales of indefinite origin. This article attempts to conduct a scientific analysis of numerous studies published in the recent years on the pages of both foreign and local press. The works of individual novice authors who are engaged in inflating the number of legends associated with the name of Korkut are subjected to special consideration. In this regard, the article emphasizes that the classic version of the Kazakh legend of Korkut was published by V. Velyaminov- Zernov in the second half of the 19th century. Despite the presence of a published text, this legend has been freely interpreted by individual authors. Another legend, once published by A. Zhubanov without reference to the original source, also requires close study. This article is based on scientific problems related to the music and epic heritage of Korkut. It highlights the stages of mastering the musical heritage of Korkut and the legends associated with them. Much attention is paid to detailed, comparative analysis and the study of primary sources. In the process of developing the theme, all the changes that have occurred since the beginning of the development of the musical heritage of Korkut are identified. The legends that allegedly arose in connection with his music are also subjected to scientific analysis. Through the prism of hermeneutical analysis, the musical melodies attributed to Korkut are also studied. A special attention is drawn to the reliability of previ ously unknown primary sources that have begun to enter scientific realm. At the same time, the artistic features and scientific significance of these musical tunes are analyzed. Only in recent years, several articles about Korkut's musical heritage have been published on the pages of foreign scientific publications. They have become the focus of this article. In the recent years previously unknown legends, which have been claimed to be preserved in Kazakh folklore, have appeared in the literature. The admirers of Korkut's name are trying hard to connect these immature plots with the name of the legendary Korkut. Moreover, some researchers started talking about the musical heritage of Korkut, which is not known not only to the Turkic world, but also to the scientific world. As the primary source, they began to refer to the religious and mystical tunes of Nishan Shamenuly, who lived in the second half of the 20th century, from whom the musical tunes "saryn" and "sarnau" were recorded. This article attempts to determine the origin of the music and religious tunes of Nishan, because the aforementioned sweeping statements are circulated without taking into account the centuries-old performing tradition of the kobyz, some of which has not even reached our times. Without much detailed research so-called previously unknown musical heritage of medieval Korkut have been introduced to the whole world. Moreover, these same tunes, which have nothing to do with the legendary Korkut, were included in the UNESCO list as an example of the intangible culture of medieval antiquity. All these questions formed the main problem of the given article. [ABSTRACT FROM AUTHOR]