The theory of wind instruments playing: terminological aspect
There is noted in the article the theory of wind instruments playing is very young: its contemporary status is comparable with the human childhood. An imitation, and adoption, and the multiple-valued use of the words caused by limited knowledge are inherent in the childhood. Such something is typical of this performing theory, too. Hence it follows the necessity to specify some basic concepts as «training of the performing organs», «performing technique», «phonation» and «sound formation», «sound attack». From a teacher’s position, «training of the performing organs » is the training in performing motions and actions; from a pupil’s position, the named training is a mastering by this motions and actions. In that case, «performing technique» is possession of performing motions and actions, and its level is defined by degree of this possession. «Phonation» includes the actions of a musician directed to formation of a sound. «Sound formation» is an acoustic process of excitation, strengthening and diffusion of sound waves. «Sound attack» is the period of self-oscillatory system transition from a state of peace to a mode of self-oscillations. Degree of attack hardness or softness is defined by musicians with regard for changes conformably to the initial phase of the stationary sound part. The author of the article supposes that further correction of terminological apparatus in the named sphere of performing theory would be conducive to its productive development.
wind instruments, theory of performing art, terminological apparatus, objective research methods, performing technique.