I listened with interest to Minister Bianchi’s recent public issue on school-musical matters, in which he suggested on the same date and timeto have all classes of all Italian schools sing in the choir the hymn of Mameli: What a nice initiative, I thought, but the substance? The substance has been different in the Italian public school for some time Latita: based on the questions of the competition for music teachers at secondary level I. It is quoted verbatim: “Create a didactic educational unit that gets the students in a class to first try reading the seventh piano using the ancient adiastematic notation” .
At first I thought it was a joke, some kind of fake, and I thought the shine “How was Antani” was missing: impossible, I thought like every other insider, such a supercazzola in competition. But to my bewilderment and deep regret, upon doing some research I discovered that it was so the pure reality. Aside from the apparent mismatch between the context of a pre-lower secondary class and the study of the Septiclavius (including those of soprano, mezzo-soprano, alto, tenor and baritone, in addition to volino and bass clefs), so apart the nonsense One such formative suggestion in a middle school context of what constitutes species follows shortly thereafter in the form of the words “according to old adiastematic notation.”
Does the Department of Education know that the adiastematic notation is the former and not a little the use of the grading system? So he knows this kind of notation it has nothing to do with every key and certainly not with all seven keys of the so-called Septikiano? So what are we going to do? Wouldn’t it be the case that someone from the Ministry of Education with a modicum of respect for prospective teachers, for our graduates, for applicants for a professorship, on behalf of the entire Ministry, is trying to offer the heartiest apologies for such mistakes?
In fact, as if that weren’t enough, it’s not the only question without a historical-scientific basis: in the last few months, a large number of entries have been received from candidates in a wide variety of competition classes from so many mistakes among the questions Oh, analogousthe imprecise correspondence between the questions asked and the relative answers which the Ministry itself considers to be correct.
But let’s go further: Minister Bianchi knows that Italy is the country where music does not create culture, where musical culture takes place at school level is not present? There is that of the visual arts, of literature, certainly not the musical one, which usually does not go through the intonation of Mameli’s hymn, but the study of its history, its forms, its styles in a country, ours. who played a fundamental role in the formation of the musical language used in all parts of the world today. We’ve said it, written it, repeated it dozens of times without ever receiving the slightest attention: hence suggestions that could also be beautiful they are not at all even if today the hypothesis of an action of real school music culture is not even partially aired.
In the land of opera the boys You have no idea these are Giuseppe Verdi, Gioachino Rossini, Giacomo Puccini, and opera aside, it is unthinkable that an entire European population should be ignorant of the priceless Western musical repertoire, its glorious past and its new languages. We want to understand once and for all that without music culture, the entire theater business will continue to suffer huge budget deficits as already established through decades of practice? Why should young people, the most dynamic band in any society, go to any theater or hall to a concert when they are already sufficiently sensitized to conscious listening to music?
The study of art history achieves in its reference area exactly this function at the level of the use and presence of the spaces used for the dissemination of plastic arts: why not start adopting the same economic-cultural model for music? It is done in Germany and in all advanced countries, why not start in Italy too? It exists in addition to a petition created by the group of Italian musicologistsan invoice already tabled in Parliament since January 2019 is the n. 1553, for the inclusion of music history in our higher education institutes: it is just waiting to be revived and carried into the parliamentary process, what are you waiting for?
In conclusion: Minister Bianchi still knows this for music historians today Access to classes is made more difficult their subject at music high schools while being able to teach it at universities at the same time? Again, do you know that art history is studied two hours a week at music high schools, while music history, which is also taught two hours a week at these high schools, is not part of the artistic high schools’ study programs? Why this purely Italian discrepancy between the history of visual arts, rightly ubiquitous in university programs, and the history of sound art? Is the Department of Education able to provide adequate, reasoned and timely responses?