In music education in normal universities, students majoring in wind music will encounter similarities and differences in breathing methods in vocal music classes and vocal music classes, which is also a special problem in music education in normal universities. Through the research and summary in teaching practice, the author found the root of this problem. The detailed analysis and explanation of this problem will not only help teachers and students majoring in wind music and vocal music to improve the teaching quality of their respective majors more correctly and effectively, but also avoid mistakes in teaching methods caused by misuse of breathing methods.

Keywords: normal music education, wind music breathing, vocal music breathing

It is inevitable to encounter a problem in the teaching of music education major in normal universities, that is, students majoring in wind music must minor in vocal music in addition to their own wind music courses. In addition, many students majoring in vocal music in normal universities choose to study wind music performance because of their graduation prospects. This is a special phenomenon in the teaching of music education specialty in normal universities. However, how to deal with the conflict between the two skills, especially the problem of breathing, has become a subtle and urgent task for normal universities.

Breathing-an imperceptible and error-prone problem in normal teaching.

In the teaching of music education major in normal universities, some vocal music teachers may intentionally or unintentionally ignore the difference in breathing methods between wind music performance and vocal music singing. Therefore, when teaching vocal music to students majoring in wind music, there are often a series of unexpected mistakes, which take "breathing" for granted.

The students majoring in wind music and performance are full of breath, which makes people inevitably have the illusion that they can sing loudly without thinking. Some inexperienced vocal music teachers also mistakenly believe that students majoring in wind music can achieve the requirements of singing as long as they relax their larynx and stabilize the position of their Adam's apple. In fact, the breath position and breathing method of wind music performance are fundamentally different from vocal music singing. Because playing wind instruments requires much stronger breathing intensity, speed and flow than singing. Furthermore, because there are differences in vocal structure between wind music performance and vocal music singing, the vocal state of wind music performance and vocal music singing is completely different. For example, the vocal structure of wind music is that the breath can only be emitted through the rubbing mouth, the trumpet mouth, the flute head and the whistle mouth, and the sound is amplified through the trumpet mouth or the sounding hole, thus producing various sounds with different heights, strengths and lengths required for playing. Because the tension of the muscles formed in the abdomen, chest and throat when playing wind music is much greater than that when singing vocal music, the concert with wind music leads to tense throat and stiff voice, which is also the way for wind music to breathe and one of the main reasons that seriously hinder the students majoring in wind music from learning vocal music. The vocal structure of vocal music singing is that the breath produces sound by rubbing the vocal cords, and then the sound is amplified through the head cavity and oral cavity, forming a combination of high and low, strong and weak, long and changeable music sounds needed for singing. Therefore, healthy and normal vocal cords can naturally vibrate under a slight airflow, while it is difficult to produce sound when playing wind instruments under the same slight airflow. Therefore, if the students majoring in wind music use the breathing method of vocal music to perform, it will have a weak performance effect. This is also the reason why some students majoring in wind music performance have insufficient volume, intensity and intensity. The reason is that the strength, length and flow of the breath needed for singing, and the breath and breathing method of vocal music can not fully meet the requirements of wind music performance. Similarly, teachers majoring in wind music can't understand the breathing method of vocal music, and they can't do anything about the weak playing state of vocal music students when they learn to play wind instruments. It is even difficult to find the mistakes made by students majoring in wind music because they took vocal lessons and used vocal breathing methods when playing.

Similarly, when students majoring in vocal music choose to learn wind music performance, they will also mistakenly use the breathing method of wind music performance in vocal music singing, leading to the howling of "guns"

Similarities and differences of breathing methods between wind music performance and vocal music singing

In the teaching of music education in normal universities, both wind music teachers and vocal music teachers must fully understand and deeply explore the role of breathing methods in wind music performance and vocal music singing, and then carefully distinguish and correctly use effective breathing methods in teaching practice to guide students to practice playing and singing scientifically, so as to ensure that they can reach the level that music education students should have in these two aspects.

First of all, we agree that both wind music performance and vocal music singing are related to breathing, and both are inseparable from the role of breath: wind music performance produces sound through airflow and vibration of lips, trumpet, whistle and flute head, and then sends the sound out of the trumpet or pronunciation hole; Similarly, vocal music singing also relies on airflow to rub the vocal cords, vibration to produce sound and send it out of the mouth.

Whether it is wind music performance or vocal music singing, the way they control their breath is an important factor that determines the pitch, timbre, volume and sound quality they can perform when playing or singing. Therefore, their breath has become the fundamental reason that directly affects the cultivation of playing or singing ability or the performance level. In the opinion of our wind music professionals, the factors that affect the performance ability of wind music can not be simply attributed to the performance method of lips, but the most important reason is precisely the most basic breathing method and breathing art that can best embody the basic skills. When playing wind music, due to insufficient breathing, not only can you not reach the intensity of high volume, but you can't complete the performance of Changle sentences. It's almost embarrassing to play in the high-pitched area. In other words, if you want to play a smooth, bright, beautiful and moving tone, you will suffer from the lack of a full, deep and powerful atmosphere, and you will be at a loss. Similarly, in the eyes of vocal music professionals, the main factors that affect the level of vocal music singing are not only the vocal methods of the larynx, but also the breathing methods. Because if you don't have enough breath when singing high notes, strong notes and long sentences, you will be powerless. It is impossible to sing euphemistic and moving timbre without deep and powerful breath.

Breathing plays an extremely important role between wind music performance and vocal music singing. There is no doubt that we wind music professionals and vocal music professionals can fully understand this. However, how to attach importance to the respective roles of breathing in the two majors; For students who choose these two different courses in two majors, how to train them in different ways in the two courses has become an important topic that teachers of our two majors need to study together.

Selection and application of correct breathing methods

There is indeed a great difference between wind music performance and vocal music singing in the correct use of breathing methods. Its remarkable sign is that their breathing control position is very different from that of abdominal muscles. When playing wind music, the amount of breath needed to rub and vibrate lips, reeds, whistle mouths and flute holes is obviously greater than that needed to rub vocal cords, especially when playing brass instruments, the breath intensity is much greater than that when playing woodwind instruments. It can be seen that the inhalation and exhalation of brass music will far exceed vocal singing. Furthermore, from the point of view of composition, in general, considering that the bearing capacity of human vocal cords and valves to breath vibration is unmatched by brass instruments, the phrases created by composers for wind music are often much longer than those created by vocal music, so the position of breath control is naturally much lower than that when singing. It is usually necessary to sink the breath into the lower abdomen (below the navel) to meet the needs of playing. However, the breathing volume, breathing intensity and breathing intensity in vocal music singing are much smaller than those in wind music playing, so the position of breath in singing is higher than that in wind music playing, usually around the diaphragm in the upper abdomen (below the navel), so that the position of breath in singing can produce wonderful timbre. Of course, for vocal music singing, when singing vocal music works with high and long sentences, the position of breath control should be moved to the lower abdomen accordingly, so as to have a certain explosive force, increase and extend the strength and length of breathing. Similarly, when wind music plays singing and lyrical wind music works, as long as the breath control position is moved up to the diaphragm, the sound can become soft and euphemistic.

Secondly, although the breathing methods of wind music performance and vocal music singing have many similarities, they can even learn from each other, but there are essential differences in the direction of abdominal muscle force between wind music performance and vocal music singing. For example, when playing wind music, the abdominal muscles should be artificially expanded outward to make the sound stable, balanced, lasting and powerful. The direction of abdominal muscle strength in vocal music singing is that the abdominal cavity naturally contracts inward to form compressive force. The breathing state of vocal music singing is like the bellows of accordion, that is, when inhaling, the chest and abdomen expand and are full of breath, and when exhaling, the abdomen naturally contracts inward and exhales. Of course, according to the needs of the pitch, length and strength of singing music, the abdomen should use the sinking force to form a stalemate with the contraction force. But on the whole, the breathing in vocal music singing is close to the breathing state when speaking. For example, when singing, the abdomen naturally collapses with the exhalation of breath, which the author calls "smooth breathing". However, when playing wind music, the breathing state is just the opposite, that is, when inhaling, the chest and abdomen are also expanding to fill the breath, but when exhaling, the abdominal muscles need to expand continuously according to the pitch, length and strength of the music played, forming the necessary endurance for playing wind music. Just like in our daily life, if we want to lift heavy objects, we must expand our abdomen and form explosive force. However, although the breath will be lost when playing, the only way to prolong this explosive force is to let the abdomen expand outward. I call this breathing state "reverse breathing". Some vocal experts said: "Those who learn to play wind instruments practice breathing to play musical instruments, while those who learn to sing practice breathing to play themselves." This sentence shows that the methods and purposes of learning wind music breathing are fundamentally different from those of learning vocal music breathing. The reason is that when playing wind instruments, the exhaled airflow will be blocked by lips, horns, whistles, flutes, reeds and other vocal parts. , forming a sense of chest tightness caused by reverse airflow. Therefore, when playing, only by sinking breath continuously and making the abdomen expand consciously to relieve the tension in the throat and chest can we control and use breath freely, so that the correct breath can provide guarantee for successful performance. On the contrary, some students are impetuous in playing training, and the violent playing of musical instruments makes them blush and have thick necks, which is beyond their control. The reason is that they failed to deal with the natural resting link when playing. Instead of letting the abdomen expand outward calmly, it contracted inward, causing the air pressure to concentrate on the chest and throat, making it blocked and unable to stretch.

Wind music performance is very different from vocal music singing and breathing. However, both of them have their own advantages in breathing methods. Only by paying attention to the adjustment and application of breathing methods suitable for the characteristics of these two courses can the teaching quality be fundamentally guaranteed.

Once the teachers of wind music major find that the sound of healthy students is weak, they should pay attention to analyze whether the students misuse the breathing method of vocal music when playing; Vocal music teachers should pay attention to whether students misuse the breathing method of wind music when they find that their voices are stiff, explosive and unfocused.

Similarly, students majoring in wind music performance and vocal music singing can only consciously and diligently correctly understand and master the different breathing methods of wind music performance and vocal music singing, and through correct and lasting breathing training and comprehensive training practice, they can effectively improve the artistic level required by wind music performance and vocal music singing.

References:

[1] Shen Xiang's vocal music teaching art [M]. Huale Publishing House, February 2003.

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