PEDAGOGICAL FOUNDATIONS FOR SHAPING THE TECHNICAL APPARATUS OF BRASS MUSICIANS

Аннотация

The main factor of successful performance activity is the continuity in pedagogy of historical and methodological experience as the main components in the practice of musical performance art. The assessment of wind performance by modern researchers shows that in this musical and pedagogical area there are still many urgent problems that require their conceptual understanding. At present, in methodological works there are a number of questions revealing the features of the physiology of the vocal apparatus of a wind instrument student during training and in performance practice. The subject of analysis is the correct position of the larynx and throat during sound production, as well as the dependence of sound quality on the formation of these organs. Special attention, aimed at studying the physiological components in the instrumental and vocal type of production, made it possible to identify and explain a number of common pedagogical approaches, as well as to argue the validity of their application in the process of teaching wind instruments. Kеywоrds: wind instruments, vocal apparatus, performing apparatus, pedagogy, sound production, larynx INTRОDUСTIОN Formation of the performing apparatus of a brass instrument player, a holistic and interconnected picture of functioning, where ambiguity in the idea of ​ ​ the work of any component prevents the effective and high-quality solution of educational and creative tasks. A practically unstudied problem area remains the scientific understanding of the structure and shape of the oral cavity, larynx and throat of a brass instrument player, the functioning of these organs in the process of extracting sound oninstruments in thecontextof musicpedagogy. In thedesignated problem, the historically accumulated experience of performing technique allows us to create a comprehensive system of scientific and pedagogical works and methods on music pedagogy in this field of knowledge. At the end of the twentieth century, music and pedagogical activity develops taking into account scientific achievements in the field of physics, acoustics, anatomy and psychophysiology. The scientific approach in the basis of training on wind instruments is concentrated in the search for patterns of use of resources of the human body and allows to turn to the achievements accumulated in physiology. In this regard, at the end of the 19th century the interrelation of wind and vocal performing arts was noticed. First of all, this is connected with the amateur level of performance on wind instruments, which professionally formed later than vocal art, did not have intensive development as a basis and was focused on practical mastering ofskills and oral tradition ofcraftsmen. MАTЕRIАLSАND MЕTHОDS Despite the fact that the voice is a natural ability given to a person by nature, and a wind musical instrument is a mechanical invention, an analogy can be noted in the formation of sound. The vocal apparatus of a vocalist consists of the respiratory system, the larynx with vocal cords and resonators, and the speech apparatus. A wind instrument is an interconnected acoustic system: the oscillatory process in the musician's respiratory tract (respiratory apparatus, vocal section, https://ijmri.de/index.php/jmsi volume 4,issue3,2025 125 articulatory section), embouchure (lips and facial muscles) and the oscillatory process in the air column of the instrument. In accordance with this concept, the distinctive features of the performing apparatus of a student wind instrument player are the fingers holding the instrument and the embouchure, and the common features are breathing and the resonating apparatus. From this position, the difference in sound production is the presence of a wind instrument. It is considered as a direct extension of the performer's body, transforming the air stream into sounds with the help of the embouchure and mouthpiece. It should also be noted that there is an analogy in the activity of the vocal apparatus of a student vocalist and a student wind instrument player. However, unlike a vocalist, whose voice is produced directly through an open mouth, a wind instrument player still has to adapt to the mouthpiece and instrument, taking into account the correspondingposition oftheembouchure muscles and fingering. RЕSULTSАNDDISСUSSIОN The performing apparatus of a wind player, as well as a vocalist, includes the larynx as the main physiological cavity for resonation. The larynx is the place where the main qualities of the future soundoriginate, namely: precise pitch, sound strength, initial timbre and vibrato. But in scientific and pedagogical works regarding the position of the larynx, vocalists have developed methodological recommendations, and for performers on wind instruments this process is still little studied. However, the analogy in the functioning of these organs allows us to note that in the process of training a wind player teacher can use the same methodological concepts as a voca