Training Instrumentalists to Be Instruments of God
Learn how to use your musical gifts to bring Him glory – no matter where you’re performing. We firmly believe that God gave us our talents, abilities and the arts as a way to express His creativity and love. The Bible is full of people playing music, showing us how God used – and still uses – music to move hearts. So whether you play for an audience of one or for a full house, we’re dedicated to training you to be the best performer and disciple of Christ that you can be.
Through a blend of classes focused on all aspects of musicianship, theory and technique that seamlessly integrate a biblical worldview, you’ll learn about much more than just music performance – you’ll learn about the life-transforming truths of the gospel. Select your instrument of choice and study piano performance, flute performance, harp performance, trombone performance, clarinet performance, violin performance, guitar performance, percussion performance and much more! We pride ourselves on the fact that our students regularly interact with, learn about and perform diverse genres of music, equipping them to become excellent instrumentalists in any number of performance settings.
Our instrumental performance major is unique for a number of reasons – our students begin performing in their first year of study, participate in weekly music performance forums, perform in solo recitals their junior and senior years, and have ample opportunities to perform outside of the college thanks to LBC’s relationships with a number of well-respected arts organizations.
Moreover, our students get chance to study under professionals working in the music industry and learn from experienced professors who are also active performers. If you want to go to a college full of Christians that will push you to become a fully-committed follower of Christ and an excellent performer, consider applying to Lancaster Bible College.
“Sing to him, sing praise to him; tell of all his wonderful acts.” – Psalm 105:2
Students explain why our music degree means so much them as believers and artists.
Dr. Timothy Sidebothom
Program Director: Music Performance - Instrumental, Vocal
“It is my privilege to teach inquisitive, college students about music and the life God has given them.” – Dr. SidebothomRead Bio
Dr. Paul Thorlakson
Chair of Music, Worship & Performing Arts Department
“Nothing brings me more joy than to witness God’s multiplication of a student’s natural gifts into a supernatural force for His kingdom” — Dr. ThorlaksonRead Bio
Music Education Program Director, Associate Chair of WPA
“Changing lives through quality music instruction.” — Mrs. SidebothomRead Bio
Dr. Robert Bigley
Director of Choral Activities
“My students inspire me every day. I hope to do the same for them.” — Dr. BigleyRead Bio
Program Director: Musical Theatre
“The theatre needs more actors that can be salt and light in an industry that desperately needs their influence.” — Mr. FeltyRead Bio
Coordinator of Worship Arts & Live Production
“Nothing is truly learned until it is put into action.” — Mr. ShenkRead Bio
Elements of music including melody, counterpoint, harmony, and tonality are studied. Roman numerals, figured bass, and chord symbols are used in beginning analytical and practical applications.
Melodic, harmonic, and rhythmic performance, analysis and dictation for the basis of ear training and sight singing in this course designed as a concurrent laboratory experience with MUS 101 Music Theory I. Technology for the twenty-first century is included with instruction in its application to music education, performance, and production. Finale basics are taught.
A foundational understanding of a biblical theology of worship is introduced. Additionally, an overview of the art of worship from early Christian times through the current post-modern trends is included. Practical implications for worship situations in today’s church are drawn from both the biblical and historical context.
Further development of topics covered in Music Theory II including chromatic chords and modulation. Roman numerals, figured bass, and chord symbols are used in advanced analytical and practical applications.
Classical and sacred choral repertoire are examined and performed in class. Correct techniques in singing are taught with special attention being given to the application of Latin, Spanish, and Italian diction. Students learn the International Phonetic Alphabet.
Classical and sacred choral repertoire are examined and performed in class. Correct techniques in singing are taught with special attention being given to the application of French, German, and English diction.
This course offers an overview of various pedagogical methods used in studio music instruction including Suzuki, Kodaly, Dalcroze Eurhythmics, Orff-Schulwerk, and Kindermusic. It also reviews the use of these methods in non-traditional music classroom settings, such as children’s choirs and small group instruction. These concepts will be analyzed in light of a biblical worldview for music and music education.
This course examines music from Classicism to Romanticism, concentrating on the major composers of each era, their musical contributions, vocal and instrumental developments, and the progression of musical style and form within the historical, sociological, technological, and theological advancements and influences of these eras.
In this course instruction is given in the concept of musical form, beginning with the phrase, and ending with the study of sonata form and the complete symphony, with all the ‘musical architectural forms’ in between.
This course examines music history from Impressionism to Modern and 21st century music concentrating on the major composers of each era, their musical contributions, vocal and instrumental developments, and the progression of musical style and form within the historical, sociological, technological, and theological advancements and influences of these eras. A section on World Music and its influence on Western Music is included.
This course is designed to expose the student to the contrapuntal element that is present, to some degree, in all music, and to make them aware of the “forces of opposition and agreement, tension and relaxation, direction, climax and the like that operate whenever two or more voices are sounded simultaneously” (Kent Kennan).
Melodic, harmonic, and rhythmic performance, analysis and dictation for the basis of ear training and sight singing in this course designed as a concurrent laboratory experience with Music Theory I. Technology for the twenty-first century is included with instruction in its application to music education, performance, and production. Finale basics are taught.
Conducting I includes the instruction of basic patterns and techniques, interpretive gestures, and rehearsal techniques. The academic environment is that of a workshop in which students conduct actual ensembles. Repertoire is varied and selected according to the student’s academic, musical, and career priorities.
1. APPLY TO LBC BY COMPLETING OUR ONLINE APPLICATION.
2. AUDITION FOR ACCEPTANCE INTO THIS MAJOR
Every student who applies to any major in the Music, Worship & Performing Arts department must audition for acceptance into the major of their interest and must also be accepted as a student to Lancaster Bible College.