This article analyzes the music of five female improvisers. I employ these women’s lived experiences of discrimination as a basis for my analysis of improvisation in terms of what I call subjective (re)positioning. Given these women’s experiences of discrimination, trust means something far richer than musically working together during performance. Trusting improvising partners create a conceptual space in which musicians are able to position and reposition themselves, thus expressing agency.
Marc E. Hannaford (Thu,) studied this question.
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