The disappearance of improvisation from the academic curricula and concert practice, at the beginning of the 20th century, deprived musicians of the ability to express their musical ideas on their instruments or by singing in an extemporaneous and coherent way. The aim of this research area is the elaboration and experimentation of some guidelines for an education project which calls for the introduction of improvisation both as an essential part of an implementation approach to music theory, and as a fundamental element of the recovery of the dimension of global musicality for instrumentalists and singers.