A tension between freedom and constraint is characteristic of improvisation practice and pedagogy, presenting challenges for teachers/workshop leaders. To create musical focus in ensemble improvisation, some sounds are encouraged, whilst others are edited out, ignored or marginalised. This article investigates improvised sounds as central or subaltern, asking how marginal sounds such as musical ‘heckles’ and off-task sounds can be accepted meaningfully into musical frameworks. I question what can be learned from subaltern sounds. How can power structures within the improvisation workshop be subverted by listening to sounds outside teacher-defined frames, and how can listening become inclusive without sessions descending into chaos?

自由与约束之间的紧张关系是即兴创作实践和教学法的特征，这给教师/研讨会领导带来了挑战。为了在合奏即兴创作中创造音乐焦点，鼓励一些声音，而另一些声音则被删除、忽略或边缘化。本文研究了即兴声音作为中心或次要声音，询问如何将边缘声音（例如音乐“质问”和偏离任务的声音）有意义地接受到音乐框架中。我质疑可以从底层声音中学到什么。如何通过聆听教师定义的框架之外的声音来颠覆即兴创作研讨会中的权力结构，以及如何在不让会议陷入混乱的情况下使聆听变得包容？