Courses | Music in Worship, B.S.

Course Overview

The following documents outline a suggested course schedule.

Summary

Below are some of the courses you’ll have an opportunity to take as a student in this program. Note: This list is intended to give you a quick glimpse into the program’s academic offerings, and should not be used as a guide for course selection or academic advising. For official program requirements see catalog for details.

Major Courses

Training in the use of speakers, microphones, mixers, amps, computers, EQ's, preamps, and personal recording in worship settings.

Exposure to live and studio sound technology; room acoustics, amplification, calibration, aspects of digital mixing. Coverage of a wide variety of recording equipment, techniques. Networking included.

Studies in various scales, major and minor triad/sevenths; reading of standard notation in open through 5th position.

Studies in various modes: upper extensions of major and minor chords; reading of standard notation in positions 6 through 11.

Applied instruction in composition, piano, organ, harpsichord, voice, brass instruments, string instruments, woodwind instruments, percussion instruments, conducting, and improvisation.

Sight-singing diatonic melodies, major and minor scales and triads using moveable tonic solfege. Transcribing basic diatonic melodies, cadences and progressions. Reading, performing and transcribing rhythmic patterns in simple, compound and irregular meters.

The study of the following music fundamentals: elementary acoustics, keyboard layout, intervals, scales, key signatures, triads, figured bass, diatonic voice-leading, cadences, elementary harmonic progressions, meter, rhythm, time signatures and staff notation.

Using 153 materials as a foundation, this course encompasses the sight-singing and transcribing of diatonic and simple chromatic melodies with greater rhythmic complexity, triads in all inversions, dominant seventh chords and altered non-harmonic tones.

A study of common-practice diatonic harmony with emphasis on voice leading and harmonic progression. Includes part writing, non-harmonic tones, cadences, figured bass and Roman analysis.

Survey of worship in the Bible from Genesis to Revelation. Key worship passages; biblical models of worship (tabernacle, temple, synagogue, Pauline worship, worship in Revelation) and their contemporary applications. Emphasis on the theology of worship.

Attendance at specified number and types of concerts each semester.

Exploration of theological and narrative content of major classic and modern hymns. Memorization of several hymns, and learning ways to communicate content effectively.

A historical and critical study of the period including important contributions in musical literature, theory and performance practice. Special attention will be given to the analysis of selected vocal and instrumental works.

A historical and critical survey of the period including important contributions in music literature, theory and performance practice. Special attention will be given to the analysis of selected vocal and instrumental works.

A historical and critical survey of the period including important contributions in music literature, theory and performance practice. Special attention will be given to the analysis of selected vocal and instrumental works.

The study of 20th century theory practice and compositional techniques within the context of the broad range of 20th century music literature.

Basic conducting skills; the psychology of conducting; observation of choral and orchestral rehearsals.

Knowledge and use of standard and emerging pop symbols. The creation of worship charts, lead sheets, chord substitutions, simplified hymn harmonizations, modulations, segues, intros, outros, turnarounds.

Continuation of Pop Theory for Contemporary Worship I. Knowledge and use of standard and emerging pop symbols. The creation of worship charts, lead sheets, chord substitutions, simplified hymn harmonizations, modulations, segues, intros, outros, and turnarounds. Emphasis on writing arrangements and projects which incorporate the above features.

Sequencing. Application of presets and samples to worship songs. Creating and performing complementary parts (string, synth, percussion, and B3 sounds) for sound tracks.

This course centers on the application of sight-singing and dictation skills acquired in 153 and 163, with particular focus on dominant and non-dominant seventh chords, altered non-harmonic tones, secondary dominants and chromatic melodies.

This is the final semester of common-practice diatonic harmony. Emphasis is on voice leading and harmonic progressions including altered dominants, borrowed chords, the Neapolitan Sixth chord, augmented chords and modulation.

This course centers on the application of sight-singing and dictation skills to complex diatonic and chromatic and modulating melodies, dominant and non-dominant seventh chords, altered non-harmonic tones, secondary dominants, the Neapolitan Sixth chord, and augmented sixth chords.

This course is centered on the study of chromatic harmony of the 19th century; Impressionism, and other early 20th century practices; contemporary popular harmonic practice and its symbols.

Introduction into the nature of spiritual formation and its relationship to worship in personal and corporate settings. Emphasis on the nature of spiritual growth, psychological hindrances, and the dynamics of assisting others into true, meaningful worship. Contains a spiritual direction component with Biola's Center for Spiritual Renewal.

How to craft a theological, relevant service; overseeing the sound and media; clarifying the role of visuals; building the team and managing rehearsals; working with the band; relating to pastor. Emphasis on skill development and student projects.

Professional music ministers, musicians, theologians and pastors will share views on worship with opportunity to dialogue with guest speakers.

A supervised ministry experience limited to juniors and seniors. Growth through direct field experience, mentoring, reflection, feedback and evaluation by a local church supervisor and Biola faculty.

Proficiency Courses

Keyboard, guitar, and voice proficiency courses.

Designed to develop general keyboard facility. For the music major, as preparation for entrance to MUSC 118.

Basic vocal training.

For the student with no previous training in guitar. Survey of different styles of playing, together with music theory as related to the instrument. First position chords, bar chords, right and left hand technique.

Keyboard technique and literature for the non-keyboard major.

Keyboard technique and literature for the non-keyboard major.

Applied instruction in composition, piano, organ, harpsichord, voice, brass instruments, string instruments, woodwind instruments, percussion instruments, conducting, and improvisation.

Ensemble Courses

See catalog for details.