AbstractMusical improvisation presents a complex phenomenon that resists unified definition across cultural and pedagogical contexts. It is not reducible to spontaneity but represents a multidimensional artistic and pedagogical practice. This study develops a theoretical framework by combining ontological, phenomenological, and discourse-analytical perspectives to clarify its foundations in music education. The analysis identifies and discusses key dimensions of improvisation: intentionality, transformation, openness, flexibility and indeterminacy, uniqueness, presence and temporality, lived and experiential practice, embodiment and corporeality, intersubjectivity and social interaction, the tension between rules and freedom, and the formative influence of biography and culture. These dimensions reveal improvisation as a process that draws on preparation and accumulated knowledge while embracing risk, responsiveness, and creative adaptation. By synthesizing philosophical, experiential, and discursive perspectives, the study demonstrates that improvisation constitutes a spontaneous, creative, and intentional artistic expression, shaped by biography and cultural context and characterized by freedom, authenticity, flexibility, interaction, openness, and aesthetic design. The findings provide educators and researchers with conceptual tools to strengthen the role of improvisation in curricula and to expand intercultural approaches to music education.
D. Tavousi (Mon,) studied this question.