This chapter aims to underscore the case that we should be studying the processes whereby creative products emerge from groups — both to advance our understanding of the nature of collaborative music-making and ‘imagining’ and collaborative creativity more generally. A second aim is to suggest the suitability of sociocultural theory and discourse analysis as the basis for making such analyses, with the emphasis on the shared historical knowledge of communities (in this case, of musical genres and practices) and the importance of language and other communicative tools for pursuing and achieving common goals. To this end, the chapter exemplifies how sociocultural discourse analysis can shed light on: firstly, the processes by which musicians negotiate musical common knowledge; secondly, the significance of disputes and conflicts in the pursuit of common goals; thirdly, how influences are fused and connected to produce a distinctive and unique ‘sound’; and, finally, how language is used in conjunction with other modes to produce a persuasive ‘discourse’ in joint preparation for musical performance.
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