A comparative study of the improvisation (Taksim) teaching process in Iran and Turkey through the views of instrument educators

The aim of this research is to conduct a comparative investigation into the perspectives of instrumental educators in Iran and Turkey regarding the teaching of improvisation (taksim). The study adopted the phenomenological approach, one of the qualitative research methods, in order to capture the lived experiences and insights of the participants. Data were collected through semi-structured interviews with 16 instrumental instructors, equally distributed between the two countries, and analyzed using thematic content analysis. The interview questions were open-ended, designed to encourage detailed reflections on teaching strategies, prerequisites, challenges, and outcomes related to improvisation pedagogy. The findings of the study reveal that improvisation teaching in both Iran and Turkey rests on specific technical and theoretical prerequisites. Elements such as technical proficiency, mastery of makam/dastgah structures, strong aural memory, and a solid repertoire are emphasized as essential foundations for improvisational competence. In this respect, both cultural traditions highlight the importance of preparatory skills and deep familiarity with modal systems. However, the way these foundations are operationalized differs between the two contexts. Iranian educators tend to approach improvisation training in a more structured and systematic manner, often framing it within the radif-dastgah system and emphasizing methodical progression. Turkish educators, on the other hand, adopt approaches that are more spontaneous, personalized, and context-dependent, shaped by the meşk tradition and reinforced by individual interpretation. In both traditions, imitation (meşk) is regarded as the indispensable starting point of learning improvisation. Nevertheless, the methods of application vary: in Iran, imitation is embedded within a more rigid, hierarchical structure, while in Turkey it often leaves room for flexibility and creativity at earlier stages of the learning process. With regard to creativity, the majority of participants across both contexts agree that improvisational creativity is partly innate but can be cultivated and expanded through systematic education, consistent practice, and exposure to diverse repertoires. The results of the research further indicate that improvisation teaching is not merely a technical skill transfer but also a cultural process, serving as a bridge between tradition and innovation. Improvisation is seen as a pedagogical tool that fosters individual expression, strengthens the performer's connection with the audience, and ensures the continuity of cultural heritage. In this respect, the study underlines the necessity of integrating traditional teaching methods with academic, systematic approaches, thereby creating a more holistic educational model. This study contributes to the literature by filling a significant gap: despite the richness of both Iranian and Turkish musical traditions, comparative and pedagogically oriented studies on improvisation education remain scarce. By documenting the voices of educators, this research provides valuable insights for the design of future curricula, instructional models, and cross-cultural exchanges in music education. It suggests that the development of improvisation pedagogy requires not only respect for cultural heritage but also openness to innovation and methodological diversity. Ultimately, improvisation education emerges as a crucial element in nurturing musicians who are technically skilled, culturally grounded, and capable of expressing their individuality while engaging meaningfully with audiences.