Since no one seems to be jumping on this right away, I'll try to add my 2 cents in here.
Unfortunately I have never had a lesson directly with Mr. Cichowicz,
but my current teacher was a student of his and used this idea at great
length when I first started with him a number of years ago. Mr Sievers
is mostly correct in his explanation below but one part is missing.
Rather than blowing and imagining the part, the student actually blows
the air pattern exactly as he or she would when playing the excerpt complete
with tonguing, crescendos, accents, etc. Basically the idea is to
back up one step from buzzing to get the air stream correct with the tonguing
and then add the buzz later. The result, if done correctly, is to
have a healthy, relaxed airstream throughout the passage. As Mr.
Sievers mentioned, this helps prevent "goosing" notes. It also helps
the player to develop a fluid air stream from note to note. This
removes the build up of tension which can result from stopping the
air between each note. At least this is how I understand it.