PROGRAMMED TRAINING IN THE ART OF PLAYING WIND INSTRUMENTS
The author of the article elucidates the establishment of the most important programmed training principles in the historical process of the wind instrument performing art development. Wind instruments are known to be among the most ancient ones, being the second only after percussion ones. The very first attempts of playing the latter ones subsequently resulted in using them extensively in religious ceremonies. At the same time, these instruments were much employed in the art of war, an example is an Arab fighting trumpet. The teacher's role in ancient Greece is also characterised during the present historical survey. This role partly corresponds to the newest definitions of the «musical pedagogy» concept. The theoretical and practical aspects of pedagogical activities are outlined as well as the scholar conception influence on the development of musical pedagogy. The author reveals the conceptual essence of programmed training and notes its dependence on the expansion and deepening of scholar cognition. The technique of the permanent exit assimilation serves as an example of the phasic differentiation which is realised for consecutive mastering of this technique. The training programming is also presented in the period of musical shop organisations. The author notes a determining influence of the Paris Conservatoire as an education institution upon the establishment of progressive training methods in the art of playing wind instruments which can be proved by J. B. Arban's «School» topicality. Furthermore, the scholar cognition influence on programmed training in the 20<sup>th</sup> century contributed to the emergence of new disciplines in educational programs of our age. At the same time, excessive formalism of the newest complex programs leads to an expansion of deliberately useless pedagogical paperwork. The description of the student's first steps in mastering his/her skills in playing a wind instrument is an example of the effective programming procedure of the most important professional skills, which form the basis for the prospective formation of the sound culture. The author reveals the role of theoretical knowledge in musical dramaturgy connected with the process of purposeful movement towards the climax as applied to drawing up the performing form of a musical work. Such examples allow to mark the border between some craft and a genuine art of a contemporary performer.