• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

“What earlier generations held as sacred, remains sacred and great for us too…” Pope Benedict XVI (7 July 2007)

  • Our Team
    • Views from the Choir Loft • “Our Team”
    • Our Editorial Policy
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Lalemant Polyphonic
    • Saint Antoine Daniel KYRIALE
    • Father Enemond Massé Manuscripts
  • Miscellaneous
    • Site Map
    • Emporium Kevin Allen
    • Roman Missal, 3rd Edition
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • Gradual by Pothier’s Protégé
  • Donate
Views from the Choir Loft

Dorothy Sayers and the Lost Tools of Learning

Dr. Lucas Tappan · February 16, 2016

LMT Dorothy Sayers AST WEEK I had the pleasure of rereading Dorothy Sayer’s The Lost Tools of Learning, which is one of the most lucid and well written overviews of the Classical Trivium (part of the larger liberal, or free, arts) I have ever come across. For readers unfamiliar with it, the Classical Trivium consists of three stages of study (which happen to align with the natural learning stages of children), namely the grammar, logic (or dialectic) and rhetoric stages, which are necessary to be thoroughly grounded in before one is able to move to the study of “subjects,” especially the Classical Quadrivium. Sayer’s argument is that while young people today learn all kinds of subjects (and can therefore fill cogs in society’s wheels), they never arrive at Truth. Perhaps this only goes to show my ignorance, but after reading the essay, it finally hit me that the stages of music learning dovetail nicely with the Classical Trivium. By way of explanation I will give a brief description of each “tool,” or stage, of the Classical Trivium.

In the first stage, Classical Grammar (up to somewhere around the 4th grade), the child engages the mechanics of language, specifically learning an inflected language such as Latin or Greek. Only by learning the structure of language in general can one ever hope to understand and communicate effectively in any language. Children in the Grammar stage also excel in the use of their faculties of observation and memory.

In the second stage, Classical Logic, or Dialectic (somewhere around the grades of 5 and 6), the child learns the “logical construction of speech,” focusing especially on “the beauty and economy of a fine demonstration or a well turned argument.”

During the final stage, Classical Rhetoric (beginning around the 7th or 8th grade), the student learns how to communicate effectively himself. Only when he is able to do this should he be allowed to dive into the specialized learning of subjects, by which time he will have learned that all knowledge and Truth are one (or perhaps we could write One).

Now to the question of how this relates to the learning of music. I have found that at a young age, which we will term the Grammar Stage of Music, children love to sing all kinds of simple, but well constructed folk songs, hymns, chants, etc. Most of them can easily be trained to sing in the head voice and they find joy in learning about notes, rhythms, solfege and even singing simple two and three part rounds. The Kodaly method of teaching music works extremely well during this stage. Around the 4th grade children transition to what I will call the Dialectic Stage of Music, at which time they are ready to begin singing simple motets and anthems and have no difficulty analyzing this music, or even the works of the great composers. Children should also begin improvising their own short melodies and rhythms at this time. By the end of this stage they are capable of singing much of the intermediate four part repertoire (where children sing the upper two parts) of the Common Practice Period. When they enter junior high, which I will term the Rhetorical Stage of Music, they should be tackling the more difficult four to eight part music (again, where the children sing the upper parts) and delving into serious music composition. If you don’t believe this can be done, just look to the choir schools. I witnessed it myself at the Madeleine Choir School. Of course it is true that not every student, or even the majority of students, will be composing serious music by the age of 14 or even deciding to go into the field of church music. On the other hand, we will never inspire a new generation of great Catholic musicians, so sorely needed at this time, if we don’t open their eyes to the “Lost Tools of Learning Music” and point them to the One to Whose praises we hope to sing for ever in the Heavenly Jerusalem.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

About Dr. Lucas Tappan

Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and four children.—(Read full biography).

Primary Sidebar

Corpus Christi Watershed

Quick Thoughts

    “Glory To God” • (For Choir + Congregation)
    I wish to thank everyone for the nice comments I received vis-à-vis my Glory To God setting for Choir & Congregation. A gentleman with a musical doctorate from Indiana University wrote: “Love this setting so much. And I will pray, as you asked, for your return to composition more fully. You are very very good.” A female choir director wrote: “I love your harmonizations, your musicality, and the wonderful interplay you have with dissonance and consonance in your music. So fun to listen to, and great for intellect, heart, and soul!” A young woman from California wrote: “Thank you for releasing your new Glory To God in honor of Saint Noel Chabanel. I'm enjoying reading through the various parts and listening to your recordings.”
    —Jeff Ostrowski
    William Byrd • “Mass for Five Voices”
    Our volunteer choir is learning the “Sanctus” from William Byrd’s Mass for Five Voices. You can hear a short excerpt (recorded last Sunday) but please ignore the sound of babies crying: Mp3 recording. We still have work to do—but we’re on the right track. Once we have some of the tuning issues fixed, I desire to use it as an example proving volunteers can sing complicated polyphony.
    —Jeff Ostrowski
    “Baptism” • A Unique Hymn
    Father Christopher Phillips is the founding Pastor of Our Lady of the Atonement Catholic Church. One of his hymns is unique and (in my humble opinion) quite beautiful. His hymn is basically a prayer to the Holy Trinity but also speaks of Baptism and the Holy Eucharist. It would be an ideal Communion hymn on Trinity Sunday or the feast of the Baptism of the Lord. You can hear live recording from last Sunday by clicking here.
    —Jeff Ostrowski

Random Quote

“The Lord’s Prayer, among the Greeks, is said by all the people; among us, by the priest alone.”

— Pope Saint Gregory the Great

Recent Posts

  • PDF Download • “Kyrie for the Ordinary Form in Honor of Saint Thomas More”
  • Antiphons Vs. Hymns • A “Both/And” Church
  • What Robert Did to My Graphics
  • “Glory To God” • (For Choir + Congregation)
  • This Sunday! • Q&A “Developing a Youth Choir Program”

Subscribe

Subscribe

* indicates required

Copyright © 2023 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.