Iryna Gorkun-Silén: Flute Française – The French Flute
Public examination of the doctoral degree of Iryna Gorkun-Silén
The whole title of the doctoral degree: Flute Française : The French Flute The influence of the French flute school from the end of the nineteenth century on flute playing today
- Chair: Anu Lampela
- The panel which assessed the artistic demonstrations: Doctor of music, clarinet artist Mikko Raasakka (chair), Flute artist, professor Tobias Carron, Principal flutist Annaleena Puhto, Horn soloist, Doctor of Music, Tommi Hyytinen, Flute soloist and professor at the CNSM Paris, Sophie Cherrier Flute artist Ilpo Mansnerus
- Examiners of the thesis: Pianist, Vice-Rector for Research and Creative Work, The Director of the Professional Doctoral Study Programme, of the Latvian Academy of Music Diãna Zandberga and flute artist Vytenis Gurstis.
Programme
Opening of the public examination
Lectio praecursoria
Performances during the lectio:
- Claude Debussy: Syrinx for flute solo
- Elisar Riddelin: Siimurg for flutes, visual artist and electronics.
- Performers: Aino Koski, visual artist. Sebastian Silén, electronics.
Statement of the written component
Discussion
Audience questions
Final Statements
Closing of the public examination
Artistic components
My doctoral research explores the French flute school of the nineteenth century and its lasting impact on modern flute performance. The artistic component of my work is deeply embedded in practice-driven research, guided by the methodologies and principles of artistic inquiry. Through this approach, I have examined how historical performance practices, technical exercises, and pedagogical traditions shape contemporary flute playing. A central aspect of my research has been the hands-on engagement with French flute repertoire and historical recordings. By analyzing these works, I sought to understand stylistic nuances, technical developments, and interpretative approaches characteristic of the French flute tradition. This process included extensive listening and comparative analysis of historical recordings, allowing me to identify and internalize performance practices that distinguish this school. Beyond personal practice and analysis, I conducted interviews with internationally renowned flutists, including Sir James Galway, Paula Robison, and Maxence Larrieu. These conversations provided invaluable insights into the pedagogical lineage and artistic interpretations inherited from the French flute tradition. Additionally, I engaged with exercise books authored by French flutists, exploring them both independently and under the guidance of flute teachers I encountered during my doctoral studies. This comparative approach allowed me to observe how different pedagogical methods influenced my understanding and execution of these exercises. To further document and refine my artistic practice, I recorded my own playing, meticulously analyzing the nuances of my technique and interpretative choices. The findings from these recordings were incorporated into conference presentations, contributing to the broader discourse on historically informed performance. My research also drew from diverse references, including literature on the French flute school, French art, artistic research methodologies, and multidisciplinary artistic practices, all of which enriched my perspective and approach. One of the most transformative aspects of my doctoral journey was my collaboration with visual artist Aino Koski. This multidisciplinary project expanded my artistic boundaries and deepened my connection to artistic expression beyond music. Engaging with visual art allowed me to explore new dimensions of creativity and broaden my understanding of artistic research, reinforcing the idea that performance is not merely technical execution but a dynamic and evolving artistic experience. Through this research, I have refined my artistry, developed a deeper appreciation for historical performance practices, and gained a more profound understanding of the French flute school’s impact on contemporary flute playing. The artistic components of my doctoral work have been instrumental in shaping my artistic voice and reinforcing the importance of continuous exploration in performance and research.
Abstract of the thesis
Refining Artistry: My Evolution and experiences during the research process on the French Flute School of the nineteenth century.
My doctoral work aims to improve our understanding of the French flute school of the nineteenth century and its influence on modern flute playing. The written part of the research is mainly based on practice-driven artistic components. This means that the principles and methodologies of artistic research have influenced and guided my work.
During my work, I focused on playing and analysing both French flute repertoire and historical recordings. Additionally, I have interviewed prominent flutists in Europe and the USA, such as Sir James Galway, Paula Robison, and Maxence Larrieu, and worked with exercise books written by French flutists. I approached and studied the flute exercises mostly by myself. Additionally, I have played and studied the exercises with the flute teachers I have met during my doctoral studies. I wanted to see how my perception and understanding of those exercises differed, depending on the situation. I recorded my own practice, analysed the exercises, and used the results in conference presentations. Those aspects of my research venture into the field of historically informed performance. To deepen my knowledge, I have been using references from books on the French flute school, French art, artistic research, multidisciplinary art, and embodied research.
My doctoral work led me to make bold moves and broaden my understanding of art as such. One of the creative high points of my research was the multidisciplinary project with the visual artist Aino Koski, which helped me have a better connection with my inner artist.
Keywords: French flute school, Paul Taffanel, Marcel Moyse, flute, artistic research, multidisciplinary art.
Biography
Ukrainian-born flutist Iryna Gorkun-Silén has performed as a soloist, chamber musician, and orchestral player in Europe, the USA, and South Korea. She holds dual master’s degrees in Performance and Pedagogy from the Zürcher Hochschule der Künste, where she studied under Philippe Racine. As a doctoral candidate at the Sibelius Academy, DocMus, Iryna studied with Petri Alanko, her supervisors are Anu Lampela and Assi Karttunen. Iryna has won international competitions in France, Ukraine, Italy, and Switzerland and participated in masterclasses with flutists such as Emmanuel Pahud, William Bennett, and Sir James Galway. Additionally, she has studied orchestral conducting with Jorma Panula, Atso Almila, and Anna-Maria Helsing. Since 2023, Iryna has worked as a cultural producer for the Ukrainian Association in Finland.
More information
Iryna Gorkun-Silén
irynagorkun@hotmail.com
The whole title of the doctoral degree: Flute Française : The French Flute The influence of the French flute school from the end of the nineteenth century on flute playing today
- Chair: Anu Lampela
- The panel which assessed the artistic demonstrations: Doctor of music, clarinet artist Mikko Raasakka (chair), Flute artist, professor Tobias Carron, Principal flutist Annaleena Puhto, Horn soloist, Doctor of Music, Tommi Hyytinen, Flute soloist and professor at the CNSM Paris, Sophie Cherrier Flute artist Ilpo Mansnerus
- Examiners of the thesis: Pianist, Vice-Rector for Research and Creative Work, The Director of the Professional Doctoral Study Programme, of the Latvian Academy of Music Diãna Zandberga and flute artist Vytenis Gurstis.
Programme
Opening of the public examination
Lectio praecursoria
Performances during the lectio:
- Claude Debussy: Syrinx for flute solo
- Elisar Riddelin: Siimurg for flutes, visual artist and electronics.
- Performers: Aino Koski, visual artist. Sebastian Silén, electronics.
Statement of the written component
Discussion
Audience questions
Final Statements
Closing of the public examination
Artistic components
My doctoral research explores the French flute school of the nineteenth century and its lasting impact on modern flute performance. The artistic component of my work is deeply embedded in practice-driven research, guided by the methodologies and principles of artistic inquiry. Through this approach, I have examined how historical performance practices, technical exercises, and pedagogical traditions shape contemporary flute playing. A central aspect of my research has been the hands-on engagement with French flute repertoire and historical recordings. By analyzing these works, I sought to understand stylistic nuances, technical developments, and interpretative approaches characteristic of the French flute tradition. This process included extensive listening and comparative analysis of historical recordings, allowing me to identify and internalize performance practices that distinguish this school. Beyond personal practice and analysis, I conducted interviews with internationally renowned flutists, including Sir James Galway, Paula Robison, and Maxence Larrieu. These conversations provided invaluable insights into the pedagogical lineage and artistic interpretations inherited from the French flute tradition. Additionally, I engaged with exercise books authored by French flutists, exploring them both independently and under the guidance of flute teachers I encountered during my doctoral studies. This comparative approach allowed me to observe how different pedagogical methods influenced my understanding and execution of these exercises. To further document and refine my artistic practice, I recorded my own playing, meticulously analyzing the nuances of my technique and interpretative choices. The findings from these recordings were incorporated into conference presentations, contributing to the broader discourse on historically informed performance. My research also drew from diverse references, including literature on the French flute school, French art, artistic research methodologies, and multidisciplinary artistic practices, all of which enriched my perspective and approach. One of the most transformative aspects of my doctoral journey was my collaboration with visual artist Aino Koski. This multidisciplinary project expanded my artistic boundaries and deepened my connection to artistic expression beyond music. Engaging with visual art allowed me to explore new dimensions of creativity and broaden my understanding of artistic research, reinforcing the idea that performance is not merely technical execution but a dynamic and evolving artistic experience. Through this research, I have refined my artistry, developed a deeper appreciation for historical performance practices, and gained a more profound understanding of the French flute school’s impact on contemporary flute playing. The artistic components of my doctoral work have been instrumental in shaping my artistic voice and reinforcing the importance of continuous exploration in performance and research.
Abstract of the thesis
Refining Artistry: My Evolution and experiences during the research process on the French Flute School of the nineteenth century.
My doctoral work aims to improve our understanding of the French flute school of the nineteenth century and its influence on modern flute playing. The written part of the research is mainly based on practice-driven artistic components. This means that the principles and methodologies of artistic research have influenced and guided my work.
During my work, I focused on playing and analysing both French flute repertoire and historical recordings. Additionally, I have interviewed prominent flutists in Europe and the USA, such as Sir James Galway, Paula Robison, and Maxence Larrieu, and worked with exercise books written by French flutists. I approached and studied the flute exercises mostly by myself. Additionally, I have played and studied the exercises with the flute teachers I have met during my doctoral studies. I wanted to see how my perception and understanding of those exercises differed, depending on the situation. I recorded my own practice, analysed the exercises, and used the results in conference presentations. Those aspects of my research venture into the field of historically informed performance. To deepen my knowledge, I have been using references from books on the French flute school, French art, artistic research, multidisciplinary art, and embodied research.
My doctoral work led me to make bold moves and broaden my understanding of art as such. One of the creative high points of my research was the multidisciplinary project with the visual artist Aino Koski, which helped me have a better connection with my inner artist.
Keywords: French flute school, Paul Taffanel, Marcel Moyse, flute, artistic research, multidisciplinary art.
Biography
Ukrainian-born flutist Iryna Gorkun-Silén has performed as a soloist, chamber musician, and orchestral player in Europe, the USA, and South Korea. She holds dual master’s degrees in Performance and Pedagogy from the Zürcher Hochschule der Künste, where she studied under Philippe Racine. As a doctoral candidate at the Sibelius Academy, DocMus, Iryna studied with Petri Alanko, her supervisors are Anu Lampela and Assi Karttunen. Iryna has won international competitions in France, Ukraine, Italy, and Switzerland and participated in masterclasses with flutists such as Emmanuel Pahud, William Bennett, and Sir James Galway. Additionally, she has studied orchestral conducting with Jorma Panula, Atso Almila, and Anna-Maria Helsing. Since 2023, Iryna has worked as a cultural producer for the Ukrainian Association in Finland.
More information
Iryna Gorkun-Silén
irynagorkun@hotmail.com