inherently tied to its situational context. The enjoyment and comprehension of a spectator who is unacquainted with the regulations or benchmarks of a sport is similarly lacking in comparison to the enjoyment and comprehension of a listener who is not conversant in the conventions of jazz. In summary, to appreciate jazz improvisation, it is important to not only consider the sound of the music, but also the social and moral dimensions of the art form, including the underlying social structures and the ways in which musicians interact and express themselves. Search for the self According to one model of repetition, defined by Gilles Deleuze, is the synthesis of time through memory that creates something new for the subject who is remembering. The past is repeated and related to other past events, creating a new understanding of the past. However, this repetition is still closed, as the subject only remembers things that confirm their existing identity. This means that any attempt at self-realization is ultimately unsuccessful. Jazz improvisers must use their memory in order to interpret the form of a song and to reference how other musicians have interpreted it in their own improvisations. The challenge for the improviser is to repeat the form in a recognizable way, but to also improvise on it in a way that is original and distinguishes them from other musicians. This repetition allows the audience to recognize the form and the improviser's own style, but according to Theodor Adorno, it ultimately only reinforces the improviser's existing ideas of themselves and does not allow for true self-realization. On the other hand, The concept of signifyin(g) as repetition with a difference, which means that the identity of any particular instance of signifyin(g) and the person engaging in it is constantly changing and influenced by what has come before. This idea, put forward by Henry Louis Gates and Jacques Derrida, also implies that all improvisation is connected to previous instances of the art form, making it impossible for an improviser to be truly autonomous. This complicates the identity of any particular improvisation and the improviser themselves. In psychoanalysis, repetition is an important aspect of identity formation and is associated with what Sigmund Freud called the death drive. This drive goes against the pleasure principle, which states that people will avoid unpleasurable experiences, and instead compels people to repeat traumatic or unpleasant events. According to Freud, this drive is