Musicians fit the six criteria that make up a discourse
community as defined by Swales. While all
musicians have their own individual style and taste, they can be unified by
their desire to study music, as well as produce distribute their own work. Communities
of musicians can form within the schools that they study, the cities, they live
in, or the genre that they prefer most. I find the effect of the internet on music very interesting. Many more communities of musicians and music lovers
have flourished over the internet. Which ties into the second and third defining characteristics of a discourse
community – intercommunication among its members. Concerts, recording studios,
jam sessions, etc. are all vectors for correspondence and providing information
and feedback. The internet plays an interesting role in these characteristics
as well, because it enables members of this discourse community from all over
the world to hear music and communicate with other musicians that they would have
never otherwise had access to. It facilitates a freer flow of ideas and styles, which not only opens peoples’
eyes to new things, but makes the fourth characteristic – genres – more flexible
and vast. As we spoke about in class, genres are not static, but are
evolutionary ideas. Categories for types of music were once simple and straight
forward – jazz, rock, classical, etc. – but now it is more common to see
musicians experiment and borrow from other genres to form their own styles. Examples
of new genres you can see emerging include post-punk progressive math rock with
a jazz influence. Genres, I think, have become their own form of lexical items.
Additionally, musicians not only have a lexis that includes the type of
instruments and recording equipment they use, they have to know how to write
music itself. This discourse community also most definitely contains members that have a diverse level of expertise. There are beginners, students, teachers and enthusiasts who continuously strive to improve their art.
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