The purpose of this study was to construct teaching strategies for selected skills and concepts in brass-instrument performance. The skills to be studied initially consisted of breathing, embouchure, sound production, and articulation; after research and analysis the skill of posture Haas added. The selected concepts were those identified by various brass authors as representing the elements of classical style; namely, "sostenuto," "accent," "staccato," and the "short accent" or "inarcato." While the brass authors also indicated the importance of tempo and dynamics to classical style, the latter were seen by the writer to be self-explanatory to a far greater extent than the primary elements named.Teaching strategies for the selected skills and concepts were constructed by utilizing relevant results of researchers' studies in motor skill acquisition and conceptual learning. These strategies were combined with the skills and concepts of the study to yield empirically-based methodologies to be used in beginning brass instruction.

This subject was chosen becasue I felt a need of a method for the teaching of brass instruments. Most teachers whose major instrument is not a member of the brass family have had too little opportunity to study and find out what is necessary for developing a good breass instrument player. In far too many cases a teacher is expected to be able to teach the brass instruments after completing a three or four months course. This method is intented to be used as a guide, in conjunction with other material. The aim is to put in writing the proper fundamentals necessary for good brass playing. The exercies are written progressively and are to be take up only when the student is ready for them. It is for this reason that supplementary material must be used.

Bibliography: leaves 97-99. / This dissertation attempts to demonstrate the role the tongue plays in articulation in brass playing. It briefly examines oral anatomy, physiology and theories on motor learning, and describes the tongue's position in producing English speech sounds. It shows how these positions are used to teach different articulation techniques on the various brass instruments. Articulation styles and (tonguing) exercises, which could aid in the improvement of tongue articulation, are highlighted. It is hoped that these highlights will add insight for both present and future brass teachers.

The purposes of this study are to identify and describe the function and control of facial muscles as related to sound production on brasswind instruments, to explore electromyographic theory and techniques with particular regard to the function and control of facial muscles, to identify basic theories of embouchure among brasswind teachers and performers, to develop a theory of brasswind embouchure based upon the preceding factors, and to propose recommendations with regard to brasswind pedagogy. Existing theories of embouchure were investigated by reviewing the extensive brasswind pedagogical literature, and by interviewing teachers representing two widely differing views. Electromyographic kinesiology of facial muscles was investigated as follows: a description of facial muscles was formulated by collating anatomy books; related electromyographic literature was reviewed; eloctromyographic recordings of facial muscled during, the performance of various facial muscle tasks and during brasswind performance were made using indwelling fine-wire electrodes. The following fundamental questions were raised: (1) What are the elements of brasswind embouchure, and what is the effect of each upon performance? (2) Is there a single embouchure mode which may be considered most efficient, and if so, what facial muscles are involved, and how may they be trained?

Mainly, the purpose of this work is to give the brass instrument player a more thorough understanding of how to improve the many factors which combine to make up his technique as a whole; also, to give the brass instrument player a more thorough understanding of the construction and history of his instrument, as well as a list of books which can be useful in developing specific phases of brass instrument playing. In other words, this book is intended to be a help to all brass instrument players who want to learn more about their instrument as well as to improve on it.