Teachers A063 (music technologies), “stabilize us”. Granato (M5S): “I asked for intervention in the competition”


Psychoacoustics, electroacoustics, recording techniques and audio-video production, use of digital technologies for the generation and treatment of sounds. And more: composition, coding, interactive performance, sound design, sonic interaction design and much more. Music: to each his own.

This seems to be the juice of the request of the precarious teachers of the subject Music Technologies – class of competition A063 – who turned to the Minister of Education Lucia Azzolina, the senators and the deputies, to claim their right to be hired and not to be overridden by colleagues who – they say – would not have the specific skills to teach the subject. There are teachers of this specific subject who, thanks to their skills, have almost invented it in the schools where they have been working for years. They have been working there for years, while their managers have changed location, but they are precarious and increasingly discouraged and pessimistic about the possibility of stabilization. And there is a first response to the teachers’ request. Senator Bianca Laura Granato, member of the Senate Education Committee for the Five Star Movement, to whom we asked for an assessment of the situation of these precarious workers regarding the fate of the discipline in question, reports that she immediately took up the matter: “We asked the Minister – he explains – to provide for the extraordinary competition a verification test that enhances the skills of the teachers of Musical Technologies. We are aware that the policy of previous governments has cut the legs of the skills of many professionals who have been used for the conversion of other redundant staff and then put aside. This government has as its objective the enhancement of merit and we already plan to review all the artistic and musical training from primary school to AFAM. As soon as the ongoing emergency allows us, we will resume the tables with all the professionals working in these sectors for legislative interventions that allow the full exploitation of this fundamental training segment “.

As the teachers themselves explain, the teaching of Music Technologies in high school studies plays a strategic role for the ability to bring elements of innovation in music education in a harmonious combination of new technologies, learning strategies and development of key skills, facilitate access to operational and cultural skills that allow us to live in the radical transformations that occurred in the creation, production and marketing of music in our era. For these same reasons, Tecnologie Musicali, together with Analysis and Composition Theory, was identified as the characterizing discipline of the course of study of the Licei Musicali and, therefore, subject of the second test in the state exam. “The discipline”, the interested parties continue, “plays a central strategic role both to achieve the learning objectives of the training path and to allow students to make informed and targeted choices for the continuation of their studies at the University and in Higher Education or for entering the job market “. Since 2010, it continues, the teachers who teach this discipline have contributed to the birth and development of musical high schools. Many of them, however, even if particularly qualified, in possession of a professional curriculum of high artistic importance, of specific academic qualifications of I and II level, referred to in the Presidential Decree 19/2016, and many years of service in a musical high school – even up to ten – say they risk being replaced “by staff mostly without teaching experience in musical high schools, qualified in another competition class and, in the most cases, even without specific qualifications “. Before the publication of the recent competition notices for the school, the MI would not have arranged, according to what the teachers reiterate, to organize an enabling path for the specific class of competition. The same D.P.R. 19/2016 did not provide for the recognition of the specific service provided in music high schools, together with the possession of specific academic diplomas for the sector, as qualifications suitable for participating in the competition procedures. The consequence of these choices led to the exclusion of precarious teachers who teach in the music high schools from the 2016 and 2018 competition procedures. But these – and this is one of the points of the discord – “instead had the teachers qualified in the classes have access of competition prior to the Presidential Decree 19/2016 and therefore not specific for musical high schools “. Hence the request for a definitive stabilization, “according to any action the Administration deems appropriate to adopt”, also making use of the partial contract in accordance with the provisions of articles 39 and 58 of the CCNL 29/11/2007, as provided by the European directive n.70 / 1999 / CE implemented by Italy with Legislative Decree n. 368/2001 “. These precarti also underline “the need to guarantee the continuity of teaching to students of musical high schools and the aspects that concern the dignity of our work. A good number of the writers have already matured nine or ten years of service at the same school, suffering from a frustrating and insecure dimension of precariousness which is incompatible with the provisions of our Constitution “.

And now that there are competitions? The possibility now offered to teachers, with at least three years of service, to participate in bankruptcy procedures, although not in possession of the qualifying title, “is objectively late – complain the teachers of Music Technologies – and absolutely insufficient to bridge the injustice perpetrated in the to precarious historical teachers who requested to be able to participate in the competition procedures since the 2016 competition “. As proof of this, it should be noted – on the basis of Annex A to the Directorial Decree n.510 of 23/04/20 and Annex 1 to the Directorial Decree n.499 of 04/21/20 – that “the places announced for the competition procedures 2020 , for the class of competition A063, there are respectively 0 places for the extraordinary procedure and 1 place for the ordinary procedure “.

To better understand the situation, the teachers underline that the “formation of A063 chairs is bound by the birth of a second section in the same high school or by any completion actions between musical high schools in the same province. Given the demographic decline and the fact that in many regions there is only one high school per province, it follows that in the near future there will be no new A063 chairs in any of the musical high schools in Italy. Therefore, all the hourly sections – 10 total hours, i.e. 2 hours of teaching per week for each of the 5 classes of the single section – will continue to be assigned to tenured teachers in other competition classes or to precarious teachers called by the school rankings. “. In addition, if the A063 chairs are formed, the winners of the 2016 competition would have priority access to the role. ” But it is not over: “Subsequently it will be the turn of the winners of the ‘non-selective’ competition of 2018 or of those who, having not passed the 2016 selective competition, have been recognized the right to teaching on the basis of possession of the qualifying title to other class of competition (ex A031 / A032 music in the secondary of I and II degree) “. But the tests held in this second competition, it is claimed, would have had the sole purpose of establishing the positions in the ranking.

It should also be noted that “the teachers who had access to the 2018 competition, had it on the basis of the sole possession of “Any II level academic diploma (conservatory) provided that the study plan followed has included at least 36 credits in the sector of new audio-digital technologies and / or electronic music” (Table A of Presidential Decree of 14 February 2016), a total of credits reachable with a small number of exams / laboratories. All this for a total of 300 credits in the sector of new audio-digital technologies and / or electronic music (180 triennium + 120 biennium) in possession of teachers with I and II level Academic Diploma in Electronic Music, Electronic Music and Sound Technologies, Music and New Technologies or Diploma in Electronic Music old single cycle system (four-year course) “. And on the other hand, it should be noted, “only the precarious teachers, still at the forefront of the didactic activities of the Licei Musicali, are on the other hand condemned, despite having the necessary qualifications to impart a teaching of excellence, to be gradually expelled of teachers. Even more if the protective action consisting of the possibility of setting aside the teaching hours will be lacking “.

The teachers of TM still remember that “the same Musical Technology laboratories created with intervention with a Pon (PON – FESR 10.8.1.A4 – Professional workshops for musical and choreographic high schools) “They were mostly designed by precarious teachers with certain skills and specific qualifications”. This has led to “equipping many musical high schools with laboratories equipped with extremely high-tech equipment, the use of which requires an advanced degree of competence that can only be gained through years of study and professional activity. Skills that cannot be improvised and which, if not possessed, would oblige a serious underutilization of such structured laboratories. Very serious damage that would invalidate the huge investment made by the Administration in support of musical high schools. In addition, the improper use of advanced technological laboratories would cause cultural damage to students and, in the worst case, damage to the hardware itself. In this regard, it is important to note that the management and maintenance of the equipment, most of the time is not handled by the technical IT staff (ATA) because it lacks the necessary skills, but directly by the teachers of Musical Technologies who support the teaching activity, that of management and maintenance of Musical Technology laboratories ”.

The signatories of the stabilization request are Marcellino Garau (Liceo Musicale “B. Croce” of Oristano), Domenico Stranieri (Liceo Musicale “G.Verdi” of Milan), Michele Della Ventura (Liceo Musicale “Giorgione” of Castelfranco Veneto), Antonio Forastiero (Musical High School “W. Gropius” of Potenza), Emilio Di Donato (Musical High School “D. Cirillo”, Aversa), Tommaso Rosati (Musical High School “CicogniniRodari” of Prato), Claudio Guida (Musical High School “F. Casorati” of Novara) Francesco Quercia (“L. Russo” Musical Lyceum of Monopoli), Enrico Lacognata (“Gargallo” Musical Lyceum of Syracuse), Francesco Altieri (“T. Stigliani” Magistral Institute of Matera), Simona Caterina (“Mibe Musical Lyceum” ”Of Pescara), Gianpaolo Castro (” Tommaso Gargallo “Musical High School of Syracuse), Renzo Giordano (” C. Sigonio “Musical High School of Modena), Francesco Congedo (” L.Lagrangia “Musical High School of Vercelli), Giovanni Miele (High School State Musical “L. Garofano” of Capua), Leonardo Cicala (Musical High School “A.Casardi” Barletta), Sergio Pirozzi (“Convitto Cotugno” Music High School of L’Aquila)


Domenico Stranieri: “I am pre-enrolled but I am training my regular colleagues on behalf of the Ministry”

He is one of the trainers of the training courses of the Ministry of Education aimed at tenured teachers of the Music Technologies discipline (A063), but he is a precarious teacher. Domenico Stranieri, Calabrian from S. Agata del Bianco, in the province of Reggio Calabria, is 39 years old and has taught Music Technologies for nine years at the Liceo Musicale “G. Verdi ”in Milan, and where he lives with his wife and daughter. Foreigners, moreover appreciated musician, performer and new media artist, is one of the signatories of the request for stabilization sent to the minister Azzolina and to the parliamentarians and she says she is one among many of her colleagues who “contributed to the birth of musical high schools and carried out in school every activity that requires technological skills, from the design and management of the laboratories, the recording studio and the auditorium to the digital animation activities, to the school website “.

Professor Domenico Stranieri, the one described above is a rather original fact

“I would say it is an emblematic fact: at this moment the training courses are taking place for all the tenured Italian teachers of the Music Technologies (A063) discipline, useful for obtaining the credits that the Good School has foreseen. Well, Tommaso Rosati from Prato is among the trainers. Both precarious teachers with many years of specific service behind them. We are therefore recognized the competence necessary to perform the function of trainers but not to be tenured teachers “.

A situation that recurs often and on various fronts

“Unfortunately, worse has happened over the years. For example, the MIUR did not allow us to participate in the 2016 or 2018 competition because it does not have a qualification. The problem is that the qualification for A063 never existed. ” Laugh

Why does he laugh?

“Because it instead allowed teachers qualified to teach the music in middle school. In many cases, these teachers had neither the specific educational qualification nor the years of specific service. And now it is about to happen that staff trained and enabled to teach music in middle school he will teach a completely different discipline in high school. While trained teachers who have invented the Music Technologies discipline will find themselves forced to recycle as teachers of music in middle school despite having another professional profile. The most blatant and in some ways even hilarious situation – if it weren’t for the consequences that will damage the quality of Italian high schools – is that, while the 2016 competition was well managed and in many regions they rejected all the candidates, in 2018 there was a real ‘amnesty’ because, being non-selective, it was enough to sit in front of the commission to enter the ranking and one day to get the chair. Result: most of the teachers rejected in 2016 had their chance. I add, and here I feel disgust, that the ranking shows which candidates participated with a qualification acquired abroad. I wonder why they got questioned in English and not in Romanian since they knew him so well that they could get the qualification in Romania. Over time, we have been overtaken by teachers without specific service and study qualifications, qualified for another class of competition. The unions have not achieved results of any kind: we are few and therefore prefer class-actions. We have 10-hour service contracts but we do many more. There are no conditions for creating the canonical 18-hour chairs because there is on average only one high school per province with a single section, otherwise we would have already been replaced by the competition winners. The teacher of Music Technologies, as the managers know well, carries out many more hours than expected because he has to manage the laboratory and prepare it for teaching. Lab technicians don’t have that kind of expertise. “

Is it true that you found yourself with your alumni at the Conservatory?

“I could tell you many happenings in these nine years. Some time ago I became a student again and I attended the courses for the 24 Credits in the Conservatory becoming a classmate of my alumni who didn’t understand themselves. At that time, the alarm clock for work went to 5:40. I returned home exhausted at 11 pm. On the train there was always me and the boys with Glovo’s bicycles. I always saw my daughter sleeping. And if I think there are also those who get the 24 credits … I was going to say if they buy them. “

You have addressed your application to the Minister of Education Lucia Azzolina, whom she says she had known years before.

“Yes, a few years ago I went to the Anief union in Milan, I met the current Minister of Education, when she was a unionist for that association. I had a good impression, she was very well prepared on the legislative aspects and in a moment she framed my situation. He suggested that I join the union and join one of the many appeals that followed one another but without getting a positive response, alas ”.

What is the synthesis you feel like doing at this point?

“Today I say that I love the discipline I teach and my students. I say that I built a lot in my school, that five managers have changed in that institution, and I’m always there. That I am relatively young but, over time, I have become the historical memory of that school. That I invested all my time and my career in the musical high school, the school that I wanted to attend as a boy “.

And now what will you do?

“We are fed up and ready for any action that could bring our condition to attention. We ask for stabilization because more moderate demands, in our situation, don’t make sense. Would we still be destined to be substitutes for life and should we also say thank you? We are no longer youngsters looking for their first job. We can’t even apply for a loan, let alone a mortgage to have a home. I have never had a salary in the months of July and August. Do you find it correct? Those who live in other European countries are not only paid differently and respected but, as required by law, are stabilized within the third year of work, even on a part-time basis. All that is needed is the will of those who have the power to change things. They were not elected to reiterate the same mistakes as always but precisely to change things for the better. We hope so. “

Look, at this point many will be wondering what the peculiarity of music technology consists of. And how does the passion for this particular artistic dimension originate in a musician?

“There is no music currently produced that does not involve the use of technology. Music Technologies could be considered a multidisciplinary subject no matter how wide the field. They range from the study of pure physical acoustic phenomenon, to psychoacoustics, electroacoustics, to audio-video recording and production techniques, to the use of digital technologies for the generation and treatment of sounds, to composition, coding, performance interactive, to sound design, to sonic interaction design and I would have for a long time, I’m only mentioning the macro-categories. To this technical part is added an important activity aimed at developing creativity and critical ability to contextualize what has been learned and produced artistically in a historical-aesthetic dimension. It is not easy to understand how this passion can arise in a musician, there is an important degree of subjectivity. In my case, I have always been attracted since I was a child both to music and technology, the electric guitar and the possibility of manipulating sound have acted as a link to discover an absolutely new world for me “.

There must have been a moment that triggered the spring

“The decision to deepen was born going many years ago to a Karlheinz Stockhausen concert at the Manzoni Theater in Bologna. It was an electrocution: the spatialisation of the sounds, the sought-after timbres, the interpretation of the musicians, the scenography – I would sometimes even say the choreography – the entire imagery in which that music transported you was disruptive. A musician is surely attracted to the potential offered by technology: an additional tool for the benefit of the world of ideas “.

Do students appreciate?

“We should ask them. Considering that many people look for me even during the interval I would say yes. Indeed, to tell the truth, apart from the affection that can arise for human reasons that go beyond professional qualities, yes, they appreciate me. Many ex-students who live abroad have become professional musicians or composers, they still write to me for an opinion or to make me hear their works. Those who are less shy thank me for what I taught them during their high school period and when they return to Italy they come to visit me and do not understand how over the years the workshops have become so beautiful. I proudly reply that I worked day and night to make them. “

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