Debtera, the word for the learned cantors of the Ethiopian church, begins with this letter. A debtera is not ordained. He has passed through the traditional church schools, which teach reading, then the chant with its notation, then qene, the art of composing extempore verse in Ge'ez on a given occasion, and in some schools the computus that fixes the calendar. The training runs for years and a student commonly travels between schools to take each stage from a recognised teacher.
Qene is worth singling out. It is a short poem in Ge'ez, composed on the spot and sung in the liturgy, built around a deliberate double sense in which a surface meaning covers a second one. The tradition calls the figure wax and gold, the wax being the mould and the gold the thing cast inside it. It is a demanding form in a language nobody speaks natively.
Debtera also carry a popular reputation as makers of protective scrolls and as knowing more than the clergy about certain kinds of remedy, and that reputation is part of how they are regarded rather than an accusation the atlas is making. Both sides of it, the schooling and the reputation, belong to any honest description of the office.
The schools are the institution behind all of this. They are attached to churches and monasteries rather than to any university, they run on the traditional stages of the curriculum, and a student supports himself while attending one. They are the mechanism by which a dead language, a chant repertory and a method of calculating the calendar have all been carried forward without a printing press.