Williams, Michael F.Austin, KatherineVillani, Flavio2026-04-272026-04-272025https://hdl.handle.net/10289/18232Since the late 19th century, the gradual disappearance of improvisation from Western Art Music (WAM) pedagogy has contributed to a narrowing of expressive possibilities in classical performance. Once considered a vital skill for a complete musician, improvisation – especially as a practice grounded in the language, syntax, and forms of WAM – was replaced by a focus on textual fidelity and interpretation. This research aims to address that loss by exploring practical pathways for the reintegration of improvisation into classical performance training, with particular attention to pianists. The study takes an action-research approach, combining personal practice, teaching experience, and comparative fieldwork in Europe to investigate and apply two complementary models of learning: the “natural schemes” approach exemplified by David Dolan’s work (rooted in embodied, intuitive musical flow), and the “learned schemes” framework represented by Emilio Molina’s IEM method (based on analysis, pattern recognition, and applied theory). Both models draw inspiration from historical pedagogies, such as partimento, and offer fertile ground for re-establishing improvisation as a natural, expressive extension of interpretation. Through case studies, classroom observation, transcription of improvisatory exercises, and the creation of original pedagogical materials (including my own collection of 24 reimagined Kabalevsky miniatures), this research examines how improvisation can support deeper audiation (the ability “to hear inwardly with meaning the sounds as [we] are making them on an instrument or voice”), harmonic fluency, formal awareness, and stylistic sensitivity. Drawing on Kratus' developmental model of improvisation, the thesis outlines methods for progressing from exploratory improvisation to structured, stylistic invention. Ultimately, this project seeks not only to advocate for the return of improvisation to classical training, but to demonstrate how it can foster a more holistic musicianship; one in which interpretation, analysis, composition, and spontaneous creativity coexist dynamically. By reconnecting performers with the generative processes of music-making, this research contributes to a broader rethinking of what it means to perform Western Art Music today.enAll items in Research Commons are provided for private study and research purposes and are protected by copyright with all rights reserved unless otherwise indicated.Thesis