Novosibirsk State Pedagogical University Bulletin, 2016, vol. 6, no. 2, pp. 138–149
811.111'373 + 811.161.1'373 + 008

Textological, lexicographic and cultural aspects of musical discourse in the Internet

Morozova N. M. 1 (Pavlodar, Republic of Kazakhstan), Chernobrov A. A. 2 (Novosibirsk, Russian Federation)
1 S. Toraighyrov Pavlodar State University
2 Novosibirsk State Pedagogical University, Novosibirsk, Russian Federation

Musical discourse, as most of other genres of discourse, exists in tree forms i. e. professional, laymen’s and mixed types. The analysis shows the difference between professional and laymen’s types of musical discourse. The laymen’s discourse is predominating in the Internet. Another observation is deterioration of professional musical language among the younger generation. The authors consider the main types of musical terms – professional international ones as sforzando and terms derived from common words as root, key or third. Russian and English dictionary definitions of the terms are compared. The use of musical terms is illustrated by vivid examples. The general tendency is strong adaptation of musical texts to common readers and mass audiences with minimal use of terminology.
There are two tendencies in use of musical terms in society. One of them is higher frequency of a limited group of most popular used in mass media. The other trend is gradual washing away of terminology from mass media discourse, pragmatical adaptation of the text to the reader. Prevailing types of discourse are semi-professional and laymen’s types of language. Putting it in simple words, we observe a paradox – nearly everyone likes music, but nearly no one understands it properly. The Internet has not raised the level of regular musical knowledge, as has not raised level of knowledge of the English language. Internet English, as well as the musical Internet discourse is degenerating into a pigeon.


Musical terms; musical discourse; verbal associations; dictionary definitions; professional knowledge; background knowledge; psycholinguistics

Textological, lexicographic and cultural aspects of musical discourse in the internet

For citation:
Morozova N. M., Chernobrov A. A. Textological, lexicographic and cultural aspects of musical discourse in the Internet. Novosibirsk State Pedagogical University Bulletin, 2016, vol. 6, no. 2, pp. 138–149. DOI:

1. Aleshinskaya Ye. V. The theoretical and methodological basis of differentiating between genres of professional discourse. Tomsk State University Journal of Philology. 2014, no. 5 (31), pp. 5–23

2. Aleshinskaya Ye. V. Modern American Musical Terms – Linguistic Status and Specifity. Chuvash State University Journal. 2007, no. 4, pp. 128–132

3. Alimuradov O. A., Chursin O. V. Pictures of Music Language. Moscow, Krasand Publ., 2009, 200 p.

4. Bykhovskiy K. B. Music in Modern Social Discourse. Moscow, 2004, 170 p.

5. Zhukova G. K. Representation of Nationality in Western European Musical Discourse. St Petersburg, 2011, 24 p.

6. Karasik V. I. The Language Circle. Personality, Concepts, Discourse. Volgograd, Peremena Publ., 2002, 477 p.

7. Kirnarskaya D. Musical Perception. Moscow, Kimos-Ard Publ., 1997, 157 p.

8. Kirnarskaya D. Psychology of Special Abilities: Musical Abilities.  Moscow, Talanty-XXI vek Publ., 2004, 496 p.

9. Kurysheva T. A. Musical Journalism and Musical Criticism. Moscow, Vlados-Press Publ., 2007, 295 p.

10. Miletova E. V. English-Language Art Critical Discourse: Nature And Lexical Content. Philology. Theory and practice. 2013, no. 4 (22), part II, pp. 114–119.

11. Mudryan N. S. Theoretical and methodological bases of music discourse research. V. N. Karazin Kharkiv National University Bulletin. 2011, no. 941, pp. 89–92.

12. Bhatia V. K., Flowerdew J., Jones R. H. (eds). Advances in discourse studies. London, New York, Routledge Publ., 2008, 273 p.

13. . Dijk van T. A. Discourse studies: a multidisciplinary introduction. Available at: (accessed 28.09.2015)

14. Fairclough N. Analysing discourse: Textual analysis for social research. London, Routledge Publ., 2003, 284 p.

15. Gunnarsson B.-L. Professional discourse. London, New York, Continuum Publ., 2009, 284 p.

16. Kirnarskaya D. The Natural Musician: on Abilities, Giftedness and Talent.  Oxford, UK, Oxford University Press Publ., 2009, 476 p.

17. Machin D. Analysing popular music: Image, sound, text. London, Sage Publ., 2010, 240 p.

18. Pavlovová M. Complex linguistic analysis of musical discourse: The genre of concert notice. Saarbrücken, LAP Publ., 2013, 268 p.

Date of the publication 10.04.2016