syrinx means:

  • creating continuing educational opportunities for flutists, didactically, technically and pedagogically on all levels and across borders - in music schools, conservatories and universities.
  • offering opportunities for exchange of ideas concerning technique, instructional methods and flute literature.
  • arousing curiosity and providing stimulation
  • organizing meetings for playing music together, etc.
  • supporting communication and cooperation among flutists, such as publishing information about flute events

syrinx also means:

  • Exchange of experiences and views, methods, notes (regional table rounds)
  • Podium for teachers-concerts
  • Groups for reading sheet music and becoming acquainted with new literature
  • Sheet music and instrument exchange
  • Weekend seminars, master classes, lectures, information

(syreo) „flowing together“

In recent years there has been a remarkable increase in interest for pedagogical exchange on the part of flute teachers, so that the idea of an association for the continuing education of flutists took concrete form.

"While working with fellow teachers at the Conservatory in Feldkirch I realised the great need for getting together, for discussions, for sharing ideas and for acquiring new impulses from colleagues for the day-to-day routine of teaching" EVA AMSLER

Encounters with flutists on all levels as well as with assistant professors from different continents make enriching dialogue possible.

"Just as important for me were the Master Classes at the Conservatory: Music pedagogues with years of experience in the profession, along with those who were about to re-enter the field, as well as students and music school pupils, all enthusiastically participated in studying less well-known flute literature, thereby demonstrating their need for continuing learning, whether active or passive" EVA AMSLER

(syrissa) "…to the roots"

Improved cooperation among the various institutions from differt continents (music schools, conservatories, universities) beyond regional borders is a meaningful goal. Getting along with each other in an atmosphere free of competition is essential for the further existence of the musical infrastructure which has taken years to build up, particularly at the present level of uncertainity in cultural matters.

"Problems with flute technique are usually of personal nature. Years of experience have shown me that blockades are more easily resolved when the studen finds better means of understanding himself, for example, through mental training, kinesiological exercises or aspects of philosophy. In this way the desired progress can be profoundly and quickly achieved." EVA AMSLER

Further education and training in basic aspects of flute playing such as breathing or posture techniques, along with the musical and stylistic completion of a piece of repertory open new possibilities.