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Problems with the "normal" pedagogy of brass (trumpet) teaching

There are several difficulties with the usual method of brass (trumpet) teaching. Some of these difficulties include:

• a reference to isolated parts of the individual (embouchure, tongue, and lungs) without reference to how these parts work in coordination as a whole
• a treatment of difficulties through isolated means (exercises that are imagined to address specific parts)
• a lack of clear means for actually practicing the material suggested without the obstruction of one's own dis-coordination
• a lack of understanding as to how to change habitual behavior ("mentally" and "physically" as a whole "self")
• a concern with a musical "end" without considering the "means whereby" that "end" may come about
• a suggestion to practice exercises (passed down by previous generations of teachers) without consideration of why the exercises should be used or were created in the first place
• attempting to provide pedagogical solutions where musical ones are needed
• Most teachers have learned to solve some of the difficulties of their own dis-coordination and tend to teach from this perspective. Unfortunately, the student is not simply a "clone" of that person. Any aid offered has no reference to the students individuality. Such reference is impossible since the average brass (trumpet) teacher lacks training and knowledge about the most fundamental level of "use" (coordination of the whole self).

A descriptive illustration from F. M Alexander's book "The Use of Self":

I asked him <the student> to perform some of his remedial exercises for me and watched him doing them, it was obvious to me that his wrong manner of use, which was present in him, had been exaggerated by his practice of these exercises...he was employing an undue amount of tension in the simplest acts...

A descriptive illustration from F. M Alexander's book "Constructive Conscious Control of the Individual":

...though speed will follow as the result of the necessary experience in the correct use of the parts concerned, a correct use can hardly follow a speed which has been achieved at the cost of an incorrect use of those parts.

How could this passage apply to the trumpet student?