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The object of the study is the actual process of breathing in performing practice. The subject of research in this article is the main approaches to the formation of a musician's performing breathing. The purpose of the undertaken research is to identify the specifics of the breathing of vocalists and performers on wind instruments, in particular, flautists. This will make it possible to create the necessary recommendations to improve the effectiveness of the educational process of wind instrument performers (in particular flutists). The methodology of the study was made up of complex and comparative approaches to the study of the problem posed. The methods of research of the problem posed were analysis, synthesis, methods of systematization and generalization. The novelty of the study is to identify common trends in the production of breathing for vocalists and instrumentalists. The main provisions of the work can be used in pedagogical practice, in the process of improving the methodology of performing breathing. The results of the undertaken research reveal the necessity of staging different types of breathing in vocalists and performers on the flute, the choice of which depends on the nature and content of the performed repertoire. Conclusions: both vocal and instrumental performance requires a conscious approach to the use of a particular type of breathing so that it is as natural as possible and does not lead to muscle clamps. Also, learning to work with breathing should not be limited exclusively to the aspects of proper inhalation or exhalation - no less important is the appropriate use of breathing in accordance with the style of the piece being performed. 	

On the problem of vocal and instrumental breathing in music