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PEDAGOGICAL FOUNDATIONS FOR SHAPING THE TECHNICAL APPARATUS OF
BRASS MUSICIANS
Abilov Muslim Normuxammadovich
Senior teacher of the department of music education
Jizzakh State Pedagogical University
Abstract:
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 on instruments in the context of music pedagogy. In the designated 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 div 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
of skills and oral tradition of craftsmen.
MАTЕRIАLS АND 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,
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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 div, 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
corresponding position of the embouchure muscles and fingering.
RЕSULTS АND DISСUSSIОN
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
sound originate, 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
vocalist, and the pedagogical principles regarding the correct position of the larynx are similar.
One of the first wind players to reveal the problem of the correct position of the larynx in his
methodological works was Yu. A. Usov [1, 2]. The author claims that the quality of the sound of
wind instruments largely depends on the correct functioning of the resonators of the performing
apparatus of the wind player. "The main resonator is the larynx. During the performance it
should be in an expanded state, reminiscent of its shape at the moment of yawning. The oral
cavity is also an active resonator. The expanded larynx and the rounded oral cavity together
create the necessary resonating dome, which has an important effect on the fullness, timbre and
roundness of the sound. It should be remembered that the control of sound production when
playing the trumpet is the control of not only breathing, lips and tongue, but also the muscles of
the larynx and oral cavity" [1, p. 65]. This concept is consonant with the methodological
conclusions of L. B. Dmitriev on the functioning of the vocal apparatus in the vocal-pedagogical
aspect. The author of the vocal technique claims that an obligatory condition of the technique of
an opera singer is the opening of the larynx as a result of the expansion of the lower part of the
pharynx. "Practice has shown that the sensation of a free, wide throat is necessary and
accompanies good singing" [3, p. 271]. In scientific and pedagogical works on voice formation
and the singer's performing apparatus, the theory of the throat functioning according to the
principle of a horn loudspeaker, which radiates sound into space, is quite common. In
"Fundamentals of Vocal Methodology" by L. B. Dmitriev, it sounds like this: "The human vocal
tract is a kind of horn: above the source of vibrations - the folds - there is a tube open to the
external environment. Through this horn tube, the sound generated in the glottis reaches the oral
opening and from here it spreads into the external space" [3, p. 63]. Comparing the design of the
loudspeaker with the functioning of all parts of the vocal apparatus during singing, we note the
similarity in the basis of their construction. The schematic description of the vocal apparatus of a
vocalist is similar to certain technical sound devices. In particular, the anatomical structure and
functioning of these human organs is very reminiscent of a horn loudspeaker. The physiological
functioning of the larynx and the entire oropharyngeal canal during singing is similar to this
technical device. Thus, a so-called pre-horn chamber is created from the larynx cavity, in which
some resistance is observed, similar to that formed in the area of the pre-horn chamber of a
technical device.
The same fact is noted in the scientific works of wind art methodologists. Thus, Professor V. N.
Apatsky writes: “The entire acoustic system of a wind instrument consists of closely
interconnected elements. The effect of the resonators of the musician’s sound apparatus on the
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sound of a wind instrument can be explained by the pre-horn box. If a box is installed in front of
the horn, the latter, introducing additional acoustic resistance, will significantly increase the
efficiency of its operation. Similarly, correctly tuned resonators of the sound-generating
apparatus create additional acoustic resistance, due to which the efficiency of sound extraction
from a wind instrument is significantly increased” [4, p. 127]. Thus, it becomes important to note
the fact that in the case of sound extraction during singing and when performing on wind
instruments, an analogy should be noted. The larynx in both cases serves as an additional
resonator, increasing the efficiency and quality of the extracted sound. In the pedagogical aspect,
the conducted analysis allows us to say that the same methodological approach should be applied
to the training of brass band musicians to improve the educational process. Vocal teachers in
their recommendations designate the technique that forms the correct sound formation in
different ways, for example: “sing on a yawn”, “under the dome”, “vocal position” [3]. Scientific
research has shown that a correctly found position in the larynx creates certain acoustic
phenomena, which facilitates the work of the vocal muscles and makes it possible to fully
demonstrate all the vocal qualities of the voice. This methodological concept also applies to
performers on brass instruments. Here, music pedagogy, as in many other similar cases, widely
uses metaphors, parallels, comparisons. This methodical installation, recommending to play "on
a yawn", suggests "thinking about a yawn" during the game, which helps to lower the larynx,
thereby increasing the cavity for resonance, creating the effect of a pre-horn box. The teacher
should concentrate his attention on the formation by the student of those correct internal playing
sensations that help to tune the resonators and control their work. For both the singing method
and the method of playing a wind instrument, this technology in teaching the formation of sound
helps to obtain the best quality sound, free sounding of the instrument with a beautiful timbre
coloring of the sound.
СОNСLUSIОN
Comparing the activity of the vocal apparatus of a student vocalist and a student wind instrument
player, we can say that the difference is the presence of a wind instrument as an extension of the
performer's div, emdiving the sound. It is considered as a kind of acoustic transducer that
transforms the air flow into sound using a mouthpiece and a specific wind instrument.
Understanding the physiological processes proves the similarity of the work of the organs of the
performing apparatus of vocalists and wind instrument players. Systematization of theoretical
research materials enriches the musical and educational environment with new pedagogical
developments aimed at adjusting the content, forms and methods of professional training of a
future brass band musician and developing performing skills. Achievement in educating a large
generation of talented instrumentalists and teachers, as well as training highly professional,
competent and competitive performers on wind instruments in modern conditions of musical and
pedagogical activity are priority areas in the activities of music pedagogy. Further search for
ways to implement new pedagogical concepts in the education of performers on wind
instruments is a relevant area in music pedagogy, and their scientific, theoretical and practical
understanding is dictated by the need to create a modern comprehensive methodology based on a
systems approach.
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