Improvisation has been noted as a masculine and Western domain in both historical and contemporary contexts (Banerji, 2023), often associated with artistic abilities framed through masculine subjectivity—such as the archetypes of the maverick or solitary genius—which has marginalised women and non-binary individuals (Reardon-Smith et al., 2020). Building on this, this research explores musical improvisation, with a focus on Chinese female musicians, examining how their improvisational experiences and musical discourses intersect with broader sociocultural dynamics in China. Beyond issues of gender, this study considers improvisation as a site for musical learning, experimentation, and peer collaboration, highlighting its potential role in fostering inclusive pedagogical approaches and bridging diverse cultural and social perspectives in music education.Therefore, this research is guided by the following questions:1. What sociocultural factors in China (e.g., the gender norms, historical traditions) have influenced the roles, perceptions, and representation of Chinese female musicians in the practice of music improvisation, and what implications might these dynamics have for music education and pedagogy?2. How do intersectional factors (e.g., age, gender, educational background) influence the experiences and practice of Chinese female musicians in music improvisation, and how do these factors interact with broader sociocultural contexts in China?3. How do Chinese female musicians articulate and pursue ‘freedom’ in their musical expressions, and how does this pursuit reflect their broader sociocultural experiences of ‘freedom’?4. How do female musicians navigate and balance the tension between collective expectations and individual expressions in their improvisational practice across different contexts (e.g., performance venues, conservatories)?To explore these questions, ethnographic fieldwork and semi-structured interviews are being conducted. By analysing musicians’ narratives, this research highlights how improvisation not only reflects and challenges their sociocultural experiences but also becomes a site for informal learning, self-discovery, and peer collaboration. The findings reveal how Chinese traditional values—such as respect for authority—and educational background shape musicians’ approaches to improvisation, sometimes reinforcing hierarchical teacher-student relationships while also prompting creative resistance. Furthermore, this research examines how digital platforms (e.g., Chinese social media) function as alternative educational and archival spaces, influencing musicians’ modes of presentation, audience engagement, creative decision-making, and the development of artistic identities and philosophies. These insights contribute to discussions on how music education can integrate improvisation as a tool for critical reflection, collaborative learning, and the negotiation of cultural and institutional expectations.