This “Cleveland Bible School Quartet” represented the Bible Training School at churches and singing conventions during the 1930-1931 term. Musical instruction at BTS was considered vital training for those in evangelistic or pastoral work. From left to right: Otis L. McCoy (instructor), Lloyd McLain, J.H. Walker (BTS Superintendent), and B.C. Robinson.
Nurturing a Movement
Music has been woven into the life of the Church of God from its very beginning. Musical training—nurtured at Lee University and carried around the world through Bible Schools—has become a defining element of the Church’s identity, shaping a shared heritage that blends worship, education, and ministry.
Instruction at BTS was formative for numerous musicians and groups including the Klaudt Indian Family, who became one of the best-known families in southern gospel music.
Informal Singing to Formal Study
Music has been central to Lee University since its earliest days. Long before the institution offered degrees, built rehearsal halls, or sent choirs across the globe, music shaped the daily rhythms of campus life. What began as simple moments of worshipful singing among Bible Training School students in 1918 has grown into one of Lee’s most celebrated academic and cultural traditions.
In the earliest years of the Bible Training School (BTS), music was not yet a formal discipline but emerged naturally as an extension of the students’ worship experience, reflecting our Pentecostal tradition that embraces expressions of love for God through singing, testimonies, prayer, and joyful praise. Students often gathered between classes to sing hymns, usually led by the teacher Nora Chambers. Early student Grant Williams, who enrolled at BTS in November 1918, recalled how classmates paused their studies for times of prayer and singing. One day, as students rejoiced singing “O I Want to See Him,” one received the baptism of the Holy Spirit. Paul H. Walker, who enrolled the following year, frequently accompanied such worship sessions on guitar. These informal gatherings were less about technique and more about spiritual formation, yet they planted the seeds of a musical culture that would soon flourish and shape the Church of God.
Local musicians, singers, and ministers helped strengthen the musical environment for those early students. A.J. Tomlinson, the school’s first superintendent, had previously organized a band, while his successor, F.J. Lee, brought experience as a former choir director. The local North Cleveland Church also had its own band, for which students and teachers often played. Beyond campus, Church and community musicians occasionally offered lessons, further enriching the students’ musical exposure.
A new era began in 1930 with the appointment of J.H. Walker, Sr. as superintendent. Having studied violin in his home state of Louisiana and later serving as choir director at North Cleveland Church while attending BTS, Walker understood the formative power of music. One of his first administrative actions was inviting Otis L. McCoy—a gifted musician trained at the Vaughn Normal School of Music and a pioneer of southern gospel music—to join the faculty and establish the school’s first structured music program.
McCoy developed a remarkably comprehensive curriculum. Early courses included theory, sight singing and ear training, harmony and advanced harmony, counterpoint, composition, music appreciation and history, repertoire, private voice lessons, and instruction in piano, guitar, violin, mandolin, banjo, brass, and woodwinds. Even practical skills were included, as a $25 piano-tuning course encouraged students to develop a trade that could support their future ministry.
As the program expanded, McCoy recruited additional instructors, such as his cousin Owel Denson, and former students A.V. Beaube, Anna Mae Carroll, Ruth Dunn, Willie Goins, and Bentley C. Robinson. Together, McCoy and Denson introduced students to the Sacred Harp singing tradition—a form of a cappella, four-part singing in which each note has a unique shape corresponding to a syllable (fa, sol, la, mi). This approach made music literacy more easily accessible to students, and BTS desired to “provide such
instruction as will enable the worker to sing, lead in singing, any congregational hymn, new or old, to do special quartet work, solo singing, song writing, and to train for singing school teaching, and class training.” Music quickly permeated the campus.
Additional music courses were offered during the evenings for students and community members. In 1931, tuition for the music courses was $5.00 for six weeks, and piano lessons were 35 cents if taught individually or 15 cents in groups. Instruction for other instruments was 40 cents.
Deeply rooted in America’s gospel music heritage, the music program at BTS produced students who later became internationally known, such as The LeFevres (Urias, Alphus, and Eva Mae), Vep Ellis, Doyle Blackwood of The Blackwood Brothers Quartet, Roosevelt Miller, and Reinholdt and Lillian Klaudt of the Klaudt Indian Family—whose music even inspired Walt Disney to offer them a television program.
In the early years, music teachers were selected more for their exceptional talent than for academic credentials. As academic programs at BTS matured, however, more formal training became essential, though practical church experience remained highly valued. By the time the school returned to Cleveland from Sevierville and became Lee College in 1947, accreditation standards required faculty with advanced degrees. Teachers like Kathryn Blackwood [Samples], who held both bachelor’s and master’s degrees in music education, helped elevate the program academically. Others, such as Ruby Hurst—formerly a music director at the North Chattanooga Church of God—brought strong church-based musicianship and completed their required degrees while teaching.
Through the years, other faculty members enhanced Lee’s music program with their unique style and artistic and pedagogical emphases. Members of Lee’s long-term music faculty from the last half-century include Mark Bailey, Michael Brownlee, Jim Burns, Gloria Chien, Tony Deaton, Andrea Dismukes, Bill Green, Bertha Gugler, LuAnn Holden, David Holsinger, David and Virginia Horton, Roosevelt Miller, Walt Mauldin, Lonnie McCalister, Brad Moffett, Philip Morehead, Danny Murray, Randy and Debbie Sheeks, Phillip Thomas, Linda Thompson, Doug Warner, Alan Wyatt, and John Wykoff. Such faculty, along with part-time instructors, brought professional expertise and helped shape the department’s modern identity.
By 1965, Lee offered undergraduate degrees in Applied Music, Church Music, and Music Education. By the late 20th century, Lee’s music program had become one of the institution’s academic pillars. The introduction of the Master of Church Music degree in 1995—the first graduate program offered at Lee—symbolized the culmination of decades of development and affirmed the university’s commitment to preparing musicians for service and leadership and its enduring role in influencing Church of God music ministry across the globe.
Today, Lee University’s School of Music offers state-of-the-art facilities, broad opportunities for students to participate in its programs, and comprehensive instruction across multiple musical disciplines. Its curriculum spans classical studies (orchestral, band, and choral), worship music in contemporary and gospel styles, music technology (including production and audio engineering), music business, and applied performance in areas such as voice, piano, strings, and winds—preparing students for careers in both sacred and secular settings while honoring its commitment to music as a means of spiritual formation and ministry.
Music has been central to Lee University since its earliest days. Long before the institution offered degrees, built rehearsal halls, or sent choirs across the globe, music shaped the daily rhythms of campus life. What began as simple moments of worshipful singing among Bible Training School students in 1918 has grown into one of Lee’s most celebrated academic and cultural traditions.
In the earliest years of the Bible Training School (BTS), music was not yet a formal discipline but emerged naturally as an extension of the students’ worship experience, reflecting our Pentecostal tradition that embraces expressions of love for God through singing, testimonies, prayer, and joyful praise. Students often gathered between classes to sing hymns, usually led by the teacher Nora Chambers. Early student Grant Williams, who enrolled at BTS in November 1918, recalled how classmates paused their studies for times of prayer and singing. One day, as students rejoiced singing “O I Want to See Him,” one received the baptism of the Holy Spirit. Paul H. Walker, who enrolled the following year, frequently accompanied such worship sessions on guitar. These informal gatherings were less about technique and more about spiritual formation, yet they planted the seeds of a musical culture that would soon flourish and shape the Church of God.
Local musicians, singers, and ministers helped strengthen the musical environment for those early students. A.J. Tomlinson, the school’s first superintendent, had previously organized a band, while his successor, F.J. Lee, brought experience as a former choir director. The local North Cleveland Church also had its own band, for which students and teachers often played. Beyond campus, Church and community musicians occasionally offered lessons, further enriching the students’ musical exposure.
A new era began in 1930 with the appointment of J.H. Walker, Sr. as superintendent. Having studied violin in his home state of Louisiana and later serving as choir director at North Cleveland Church while attending BTS, Walker understood the formative power of music. One of his first administrative actions was inviting Otis L. McCoy—a gifted musician trained at the Vaughn Normal School of Music and a pioneer of southern gospel music—to join the faculty and establish the school’s first structured music program.
McCoy developed a remarkably comprehensive curriculum. Early courses included theory, sight singing and ear training, harmony and advanced harmony, counterpoint, composition, music appreciation and history, repertoire, private voice lessons, and instruction in piano, guitar, violin, mandolin, banjo, brass, and woodwinds. Even practical skills were included, as a $25 piano-tuning course encouraged students to develop a trade that could support their future ministry.
As the program expanded, McCoy recruited additional instructors, such as his cousin Owel Denson, and former students A.V. Beaube, Anna Mae Carroll, Ruth Dunn, Willie Goins, and Bentley C. Robinson. Together, McCoy and Denson introduced students to the Sacred Harp singing tradition—a form of a cappella, four-part singing in which each note has a unique shape corresponding to a syllable (fa, sol, la, mi). This approach made music literacy more easily accessible to students, and BTS desired to “provide such
instruction as will enable the worker to sing, lead in singing, any congregational hymn, new or old, to do special quartet work, solo singing, song writing, and to train for singing school teaching, and class training.” Music quickly permeated the campus.
Additional music courses were offered during the evenings for students and community members. In 1931, tuition for the music courses was $5.00 for six weeks, and piano lessons were 35 cents if taught individually or 15 cents in groups. Instruction for other instruments was 40 cents.
Deeply rooted in America’s gospel music heritage, the music program at BTS produced students who later became internationally known, such as The LeFevres (Urias, Alphus, and Eva Mae), Vep Ellis, Doyle Blackwood of The Blackwood Brothers Quartet, Roosevelt Miller, and Reinholdt and Lillian Klaudt of the Klaudt Indian Family—whose music even inspired Walt Disney to offer them a television program.
In the early years, music teachers were selected more for their exceptional talent than for academic credentials. As academic programs at BTS matured, however, more formal training became essential, though practical church experience remained highly valued. By the time the school returned to Cleveland from Sevierville and became Lee College in 1947, accreditation standards required faculty with advanced degrees. Teachers like Kathryn Blackwood [Samples], who held both bachelor’s and master’s degrees in music education, helped elevate the program academically. Others, such as Ruby Hurst—formerly a music director at the North Chattanooga Church of God—brought strong church-based musicianship and completed their required degrees while teaching.
Through the years, other faculty members enhanced Lee’s music program with their unique style and artistic and pedagogical emphases. Members of Lee’s long-term music faculty from the last half-century include Mark Bailey, Michael Brownlee, Jim Burns, Gloria Chien, Tony Deaton, Andrea Dismukes, Bill Green, Bertha Gugler, LuAnn Holden, David Holsinger, David and Virginia Horton, Roosevelt Miller, Walt Mauldin, Lonnie McCalister, Brad Moffett, Philip Morehead, Danny Murray, Randy and Debbie Sheeks, Phillip Thomas, Linda Thompson, Doug Warner, Alan Wyatt, and John Wykoff. Such faculty, along with part-time instructors, brought professional expertise and helped shape the department’s modern identity.
By 1965, Lee offered undergraduate degrees in Applied Music, Church Music, and Music Education. By the late 20th century, Lee’s music program had become one of the institution’s academic pillars. The introduction of the Master of Church Music degree in 1995—the first graduate program offered at Lee—symbolized the culmination of decades of development and affirmed the university’s commitment to preparing musicians for service and leadership and its enduring role in influencing Church of God music ministry across the globe.
Today, Lee University’s School of Music offers state-of-the-art facilities, broad opportunities for students to participate in its programs, and comprehensive instruction across multiple musical disciplines. Its curriculum spans classical studies (orchestral, band, and choral), worship music in contemporary and gospel styles, music technology (including production and audio engineering), music business, and applied performance in areas such as voice, piano, strings, and winds—preparing students for careers in both sacred and secular settings while honoring its commitment to music as a means of spiritual formation and ministry.
Delton Alford organized the Lee Singers on January 28, 1963.
From Traveling Quartets to Signature Ensembles
Performing groups emerged almost as soon as the school opened—not merely to perform, but to minister. In the 1920s, students spontaneously formed trios and quartets that traveled to nearby churches, revivals, and singing conventions. McCoy formalized this tradition in 1930 by organizing the first official BTS Quartet, composed of McCoy and faculty colleagues B.C. Robinson, J.H. Walker, Sr., and Lloyd McLain. A year later, the first official student quartet—BTS Quartet #2—was formed with Alphus LeFevre, Urias LeFevre, James McCoy, and J.L. Yates. The BTS Female Quartet soon followed, featuring Mildred Murphree, Martha Holt, Grace Hix, and Eva Mae Whittington LeFevre. By the mid-1930s, the campus was alive with male and female quartets and trios, an orchestra, and small traveling ensembles.
These groups served as ministry teams and ambassadors of the school. As early as 1935, BTS collaborated with the Church of God Publishing House to produce musical recordings—highlighting the school’s music program and beginning a tradition that continues today. Since 2022, the Danny Murray Recording Studio has provided state-of-the-art facilities for ensemble recording and student learning, offering both individual and classroom-based labs.
The 1940s brought further expansion, including a 40-voice Mixed Choir that performed on The Church of God Hour radio program. This tradition continued as Lee students later sang for the denomination’s national broadcast, Forward in Faith, which first aired in 1958. Band programs also developed under directors such as Kathryn Blackwood [Samples], Harold Cato, James Staley, and later, Edward L. Williams, Delton Alford, and Mark Bailey.
In 1958, A.T. Humphries divided the Mixed Choir into a Touring Choir and a Campus Choir, with the touring ensemble joining the campus choir when not traveling. This marked a new chapter in Lee’s musical development, and many of today’s signature traveling ensembles trace their roots to this era of growth.
Campus Choir, the oldest continuing choral ensemble at Lee, is known for its enthusiastic, ministry-focused identity—one that, as former director David Horton described, leads people into “flatout” worship. Beginning in the 1980s, the choir expanded its ministry beyond campus through national and international tours, while continuing to serve the Lee campus with a strong spiritual focus. The choir is widely sought after among Church of God congregations and for denominational events, as well as by other Christian denominations and organizations.
Lee Singers was founded in 1963 by Delton Alford as a fresh vision in place of the former Touring Choir. Alford brought a more disciplined and structured approach to the ensemble, elevating its mission to include leadership development alongside musical excellence, and expanding its travel itinerary—reshaping Lee’s musical identity for decades to come. Despite the rigor and demand for musical excellence, Lee Singers continues to be a beloved and highly sought-after ensemble featuring a diverse repertoire of sacred choral works, praise and worship, traditional choral, patriotic songs, and gospel favorites.
Performing groups emerged almost as soon as the school opened—not merely to perform, but to minister. In the 1920s, students spontaneously formed trios and quartets that traveled to nearby churches, revivals, and singing conventions. McCoy formalized this tradition in 1930 by organizing the first official BTS Quartet, composed of McCoy and faculty colleagues B.C. Robinson, J.H. Walker, Sr., and Lloyd McLain. A year later, the first official student quartet—BTS Quartet #2—was formed with Alphus LeFevre, Urias LeFevre, James McCoy, and J.L. Yates. The BTS Female Quartet soon followed, featuring Mildred Murphree, Martha Holt, Grace Hix, and Eva Mae Whittington LeFevre. By the mid-1930s, the campus was alive with male and female quartets and trios, an orchestra, and small traveling ensembles.
These groups served as ministry teams and ambassadors of the school. As early as 1935, BTS collaborated with the Church of God Publishing House to produce musical recordings—highlighting the school’s music program and beginning a tradition that continues today. Since 2022, the Danny Murray Recording Studio has provided state-of-the-art facilities for ensemble recording and student learning, offering both individual and classroom-based labs.
The 1940s brought further expansion, including a 40-voice Mixed Choir that performed on The Church of God Hour radio program. This tradition continued as Lee students later sang for the denomination’s national broadcast, Forward in Faith, which first aired in 1958. Band programs also developed under directors such as Kathryn Blackwood [Samples], Harold Cato, James Staley, and later, Edward L. Williams, Delton Alford, and Mark Bailey.
In 1958, A.T. Humphries divided the Mixed Choir into a Touring Choir and a Campus Choir, with the touring ensemble joining the campus choir when not traveling. This marked a new chapter in Lee’s musical development, and many of today’s signature traveling ensembles trace their roots to this era of growth.
Campus Choir, the oldest continuing choral ensemble at Lee, is known for its enthusiastic, ministry-focused identity—one that, as former director David Horton described, leads people into “flatout” worship. Beginning in the 1980s, the choir expanded its ministry beyond campus through national and international tours, while continuing to serve the Lee campus with a strong spiritual focus. The choir is widely sought after among Church of God congregations and for denominational events, as well as by other Christian denominations and organizations.
Lee Singers was founded in 1963 by Delton Alford as a fresh vision in place of the former Touring Choir. Alford brought a more disciplined and structured approach to the ensemble, elevating its mission to include leadership development alongside musical excellence, and expanding its travel itinerary—reshaping Lee’s musical identity for decades to come. Despite the rigor and demand for musical excellence, Lee Singers continues to be a beloved and highly sought-after ensemble featuring a diverse repertoire of sacred choral works, praise and worship, traditional choral, patriotic songs, and gospel favorites.
The Lee University Festival Choir sang at the U.S. Presidential Inauguration in 2013.
Ladies of Lee was established in 1964 when recent graduate Mary Smith Morris founded the all-female choir. Roosevelt Miller soon assumed leadership, directing the ensemble for two decades, giving its current name, and expanding its repertoire to include more sacred music. The group became the first Lee ensemble to minister in the Holy Land and Hawaii, and it continues to travel widely, performing in diverse venues and showcasing a broad range of genres and styles.
Evangelistic Singers (EVS)—founded in 1967 by students Samuel Ellis, Quan Miller, and Patricia Miller—emerged to provide Black students at Lee with opportunities to travel at a time when segregation limited their welcome in some churches. For more than 50 years, the choir has toured extensively in the United States and abroad. EVS embraces ethnic diversity and is recognized for its energetic and passionate expression of black gospel and sacred music, with Dove Award winning alumni among its ranks.
Symphonic Band was founded in 1989 by Mark Bailey—its only director for more than 35 years—and has developed into an internationally recognized ensemble. The group has shared the gospel through music on five continents, performing in churches and at major events while showcasing the full expressive range of the modern concert band. Through its ministry, the Holy Spirit has touched countless lives, and many have accepted Christ as Savior during its services and concerts.
Voices of Lee, founded in 1994 by former Lee President Paul Conn and led for more than 30 years by its sole director Danny Murray, is a 16-member ensemble that has risen to national prominence in collegiate a cappella. The group performs across the globe at sacred, secular, and political events, earning recognition for its harmonies, gospel and patriotic repertoire, and dynamic connection with audiences.
Smaller musical groups have emerged from the larger choirs, including Harvest, New Harvest, Second Edition, and Power
Unlimited—which, in 1990, became the first Christian musical ensemble to minister in the Eastern Bloc nations of Yugoslavia, Bulgaria, and Romania after the fall of Communism. Additional ensembles formed over the years, such as Chorale, Choral Union, Jazz Band, Percussion Ensemble, and Wind Ensemble, each offering its own distinct sound and purpose. As the decades progressed, Lee’s ensemble tradition became central to the university’s musical identity—traveling the world, producing recordings, and helping establish Lee’s reputation for excellence in choral and gospel music.
Evangelistic Singers (EVS)—founded in 1967 by students Samuel Ellis, Quan Miller, and Patricia Miller—emerged to provide Black students at Lee with opportunities to travel at a time when segregation limited their welcome in some churches. For more than 50 years, the choir has toured extensively in the United States and abroad. EVS embraces ethnic diversity and is recognized for its energetic and passionate expression of black gospel and sacred music, with Dove Award winning alumni among its ranks.
Symphonic Band was founded in 1989 by Mark Bailey—its only director for more than 35 years—and has developed into an internationally recognized ensemble. The group has shared the gospel through music on five continents, performing in churches and at major events while showcasing the full expressive range of the modern concert band. Through its ministry, the Holy Spirit has touched countless lives, and many have accepted Christ as Savior during its services and concerts.
Voices of Lee, founded in 1994 by former Lee President Paul Conn and led for more than 30 years by its sole director Danny Murray, is a 16-member ensemble that has risen to national prominence in collegiate a cappella. The group performs across the globe at sacred, secular, and political events, earning recognition for its harmonies, gospel and patriotic repertoire, and dynamic connection with audiences.
Smaller musical groups have emerged from the larger choirs, including Harvest, New Harvest, Second Edition, and Power
Unlimited—which, in 1990, became the first Christian musical ensemble to minister in the Eastern Bloc nations of Yugoslavia, Bulgaria, and Romania after the fall of Communism. Additional ensembles formed over the years, such as Chorale, Choral Union, Jazz Band, Percussion Ensemble, and Wind Ensemble, each offering its own distinct sound and purpose. As the decades progressed, Lee’s ensemble tradition became central to the university’s musical identity—traveling the world, producing recordings, and helping establish Lee’s reputation for excellence in choral and gospel music.
Global Recognition
Since the music program began at BTS, sharing the gospel through music has been central to its mission. Student groups have ministered across the country—singing in local churches, state camp meetings, youth camps, Winterfests, and General Assemblies. This reach expanded to a broader global audience in 1967 when Delton and Myrna Alford led the Lee Singers on a four-week tour across Europe in which the choir ministered at 22 concerts in nine countries. On a second European tour in 1970, Alford led the Singers behind the Iron Curtain for a concert in Belgrade, Yugoslavia. Under strict Communist oversight, instruments were forbidden, but the choir sang a cappella with masterful skill. Their voices filled the historic St. Paul’s Church, where a standing-room-only crowd had waited for hours and responded with joy.
Since then, Lee’s choirs and ensembles have ministered on almost every continent. They have performed everywhere from storefront churches to the Vatican, from the most marginalized communities to royal audiences, and before some of the world’s most esteemed religious and governmental leaders.
Lee’s musical influence gained increasing national and global visibility beginning in the 1970s, highlighted by the Lee Singers’ appearance on A New World Coming, the denomination’s first prime-time television special, which aired in 1974. That visibility continued to grow, including an invitation from Tennessee Senator Lamar Alexander for Lee’s Festival Choir to perform at the U.S. Presidential Inauguration in 2013. In recent years, numerous Lee students have competed on nationally televised music programs, with several earning top recognition—Phil Stacey and Clark Beckham on American Idol, Jordan Smith on The Voice, and Voices of Lee on The Sing-Off. Today, internet streaming further amplifies this reach, as is evident with the online video of Voices of Lee singing “What a Beautiful Name,” which has garnered more than 3 million views.
Additionally, Lee’s faculty have made significant contributions through their musical compositions. Examples include Roosevelt Miller’s beloved hymn, “I Will Follow Thee,” John Wykoff’s two commissioned works for the U.S. Presidential Inauguration in 2017, and numerous acclaimed compositions by internationally respected conductor David Holsinger, whose arrangements of American hymns receive hundreds of performances each year.
Graduates of Lee serve throughout the world in diverse vocations. Alumni can be found in musical theatre and opera, as music teachers, choral directors, songwriters, music producers, local church music and worship pastors, and singers and musicians across a variety of genres.
Since the music program began at BTS, sharing the gospel through music has been central to its mission. Student groups have ministered across the country—singing in local churches, state camp meetings, youth camps, Winterfests, and General Assemblies. This reach expanded to a broader global audience in 1967 when Delton and Myrna Alford led the Lee Singers on a four-week tour across Europe in which the choir ministered at 22 concerts in nine countries. On a second European tour in 1970, Alford led the Singers behind the Iron Curtain for a concert in Belgrade, Yugoslavia. Under strict Communist oversight, instruments were forbidden, but the choir sang a cappella with masterful skill. Their voices filled the historic St. Paul’s Church, where a standing-room-only crowd had waited for hours and responded with joy.
Since then, Lee’s choirs and ensembles have ministered on almost every continent. They have performed everywhere from storefront churches to the Vatican, from the most marginalized communities to royal audiences, and before some of the world’s most esteemed religious and governmental leaders.
Lee’s musical influence gained increasing national and global visibility beginning in the 1970s, highlighted by the Lee Singers’ appearance on A New World Coming, the denomination’s first prime-time television special, which aired in 1974. That visibility continued to grow, including an invitation from Tennessee Senator Lamar Alexander for Lee’s Festival Choir to perform at the U.S. Presidential Inauguration in 2013. In recent years, numerous Lee students have competed on nationally televised music programs, with several earning top recognition—Phil Stacey and Clark Beckham on American Idol, Jordan Smith on The Voice, and Voices of Lee on The Sing-Off. Today, internet streaming further amplifies this reach, as is evident with the online video of Voices of Lee singing “What a Beautiful Name,” which has garnered more than 3 million views.
Additionally, Lee’s faculty have made significant contributions through their musical compositions. Examples include Roosevelt Miller’s beloved hymn, “I Will Follow Thee,” John Wykoff’s two commissioned works for the U.S. Presidential Inauguration in 2017, and numerous acclaimed compositions by internationally respected conductor David Holsinger, whose arrangements of American hymns receive hundreds of performances each year.
Graduates of Lee serve throughout the world in diverse vocations. Alumni can be found in musical theatre and opera, as music teachers, choral directors, songwriters, music producers, local church music and worship pastors, and singers and musicians across a variety of genres.
A Continuing Tradition
From its earliest days as the Bible Training School to its present status as a university with internationally recognized ensembles, Lee’s musical heritage has been marked by passion, innovation, and deep spiritual roots. What began as simple classroom singing has grown into a vibrant program that shapes worship leaders, educators, performers, and composers throughout the Church of God
and around the world. Its foundation, laid more than a century ago, continues to resonate in every rehearsal, every performance, and every student who finds their voice through its music program.
From its earliest days as the Bible Training School to its present status as a university with internationally recognized ensembles, Lee’s musical heritage has been marked by passion, innovation, and deep spiritual roots. What began as simple classroom singing has grown into a vibrant program that shapes worship leaders, educators, performers, and composers throughout the Church of God
and around the world. Its foundation, laid more than a century ago, continues to resonate in every rehearsal, every performance, and every student who finds their voice through its music program.
Music was a vital aspect of study and ministry for many of the students enrolled in the first regular term of Northwest Bible and Music Academy in spring 1935.
Bible Schools Reaching Beyond
BTS broadened its ministry training in the 1930s and 1940s by launching a network of six-week summer Bible and music schools across the country. First held in Maine, Florida, and North Carolina, these programs offered affordable instruction to students unable to travel to Cleveland.
In Appleton, Maine, Overseer H.W. Poteat organized a school in 1934 that combined daily Bible classes with musical training taught by U.D. Miller. The program—later known as the New England Bible and Music School—continued for several years at a cost of only $35 for room, board, and tuition. Florida followed in 1935 with a similar six-week school on the Wimauma campground, with BTS faculty members B.C. Robinson teaching music courses and Ione Moore teaching piano. Comparable summer schools soon appeared in Alabama, Kentucky, North Carolina, Pennsylvania, South Carolina, and throughout the Northwest and Pacific Northwest.
Several permanent institutions grew out of this model. Northwest Bible College began as short-term Bible and music courses in the Dakotas and opened its first full term in 1935 with 75 students from across the northern United States and Canada—representing a wide range of nationalities. Observing the national diversity, including “Canadians, Americans, Norwegians, Swedes, Russians, Germans, Dutch, Spanish, and Irish,” regional overseer, Paul H. Walker, exclaimed, “we are one great family.” Such varied musical heritage enhanced the early music program at Northwest. Owel Denson of BTS taught music for the initial summer courses, and other early teachers were Willie Goins, Alvina Christman, and Elma Savchenko. Later music instructors included Sandi Hitte, Lonnie McCalister, Linda Thompson, Dwight Vaught, and Sheldon Vik.
As at BTS, musical groups at Northwest formed quickly and students traveled throughout the region in ministry. Trios, quartets, various choirs, and several small ensembles developed to present the message of Christ. Among these ensembles were the Peacemakers Choir, Vision, and Maranatha ensembles. Of the music program, the 1969 yearbook noted, “Correct singing techniques are emphasized, but the purpose of communicating the gospel is ever kept in mind.” Northwest added a bachelor’s degree in music in 1972 and served that region until closing in 1987.
BTS broadened its ministry training in the 1930s and 1940s by launching a network of six-week summer Bible and music schools across the country. First held in Maine, Florida, and North Carolina, these programs offered affordable instruction to students unable to travel to Cleveland.
In Appleton, Maine, Overseer H.W. Poteat organized a school in 1934 that combined daily Bible classes with musical training taught by U.D. Miller. The program—later known as the New England Bible and Music School—continued for several years at a cost of only $35 for room, board, and tuition. Florida followed in 1935 with a similar six-week school on the Wimauma campground, with BTS faculty members B.C. Robinson teaching music courses and Ione Moore teaching piano. Comparable summer schools soon appeared in Alabama, Kentucky, North Carolina, Pennsylvania, South Carolina, and throughout the Northwest and Pacific Northwest.
Several permanent institutions grew out of this model. Northwest Bible College began as short-term Bible and music courses in the Dakotas and opened its first full term in 1935 with 75 students from across the northern United States and Canada—representing a wide range of nationalities. Observing the national diversity, including “Canadians, Americans, Norwegians, Swedes, Russians, Germans, Dutch, Spanish, and Irish,” regional overseer, Paul H. Walker, exclaimed, “we are one great family.” Such varied musical heritage enhanced the early music program at Northwest. Owel Denson of BTS taught music for the initial summer courses, and other early teachers were Willie Goins, Alvina Christman, and Elma Savchenko. Later music instructors included Sandi Hitte, Lonnie McCalister, Linda Thompson, Dwight Vaught, and Sheldon Vik.
As at BTS, musical groups at Northwest formed quickly and students traveled throughout the region in ministry. Trios, quartets, various choirs, and several small ensembles developed to present the message of Christ. Among these ensembles were the Peacemakers Choir, Vision, and Maranatha ensembles. Of the music program, the 1969 yearbook noted, “Correct singing techniques are emphasized, but the purpose of communicating the gospel is ever kept in mind.” Northwest added a bachelor’s degree in music in 1972 and served that region until closing in 1987.
The Islanders from International Bible College in Moose Jaw, Saskatchewan, Canada, featured students from Jamaica and Bermuda.
International Bible College (IBC) in Saskatchewan, Canada, emerged in 1936 from similar regional training efforts. Originally known as the South Saskatchewan Bible Training School, by the late 1940s its music program offered theory, harmony, choral direction, and instruction in piano, accordion, guitar, trumpet, alto horn, slide trombone, violin, voice, and special singing. In 1949, IBC partnered with the local Moose Jaw congregation to operate the Church of God of the Air radio broadcast—serving both as a ministry tool and platform for student musicians. By 1951, the school supported a large orchestra and was racially integrated, with The Islanders quartet featuring students from Jamaica and Bermuda.
Over the years, instructors such as Berniece Brostrom, Merle McLuhan, Edward and Clara Yecha, James Hay, David Funk, Brenda Anderson, Shirley Holmes, and Sharon Quick led the music program, with most also directing the choir. Music ministry continued at IBC until the school’s closure in 2012.
Over the years, instructors such as Berniece Brostrom, Merle McLuhan, Edward and Clara Yecha, James Hay, David Funk, Brenda Anderson, Shirley Holmes, and Sharon Quick led the music program, with most also directing the choir. Music ministry continued at IBC until the school’s closure in 2012.
West Coast Bible College’s New Life Singers began in 1971 under the leadership of Director Dan Petty and ministered throughout the western United States as well as the General Assembly.
On the West Coast, early ministerial training began in 1944 in Yakima, Washington, with Bible and evangelism courses taught by various instructors, along with music instruction provided by George Savchenko. In 1949, what became West Coast Christian College (WCCC) was formally established in Pasadena, relocating to Fresno the following year, where it was first known as West Coast Bible School. From its beginning, WCCC had a music program, including a small band and ensemble, and offered courses in theory, harmony, and music history and appreciation. Applied music lessons cost one dollar per session.
By 1955, the school had formed a choir with H.B. Thompson as director. In 1956, Paul L. Walker—then serving as state Sunday school and youth director for California/Nevada—also became principal of the high school. Walker, who sang in a choir during his studies at
Lee, brought greater structure and organization to the music program and led the choir on tours to help raise funds to construct the school’s facilities. During Horace Ward’s leadership as president, all areas of the school were enhanced, including the music program. Dan Petty, Mark Bailey, and Siema Swartzel made additional contributions to the program. The New Life Singers, as well as other instrumental and small ensembles, ministered on campus and throughout the region until the school closed in 1992.
During segregation, the Church of God “Colored Work” also developed Bible training schools. Beginning in 1959, the overseer of the Church’s Black ministries, J.T. Roberts, partnered with Lee College to offer summer programs in Jacksonville, Florida, and later in Philadelphia, Pennsylvania, featuring Bible, evangelism, and music instruction with teachers such as J.H. Walker, Jr., Lucille Walker, Charles Carpenter, and Delton Alford. Choirs played a central role, and Alford helped shape the musical life of these schools and, conversely, the students’ local churches. Such programs offered access to education for African Americans before most of the church’s educational institutions were integrated in 1966.
East Coast Bible College (ECBC), located in Charlotte, North Carolina, was founded in 1976. Initially established as a three-year Bible and Music Institute, the school became a four-year college in 1978. Music was a prominent emphasis at ECBC, and the College Choir and East Coast Chorale ministered on campus under the direction of Eddy Wilson and Keith Ivester. Small traveling ensembles soon followed. Covenant, formed in 1979 with Sammy Oxendine as director, served as the school’s ministerial promotion ensemble, traveling internationally and performing at Church of God events with notable effectiveness in evangelism. Dayspring, established in 1980, ministered at denominational events, youth camps, camp meetings, churches, and youth rallies throughout the Southeast. An instrumental ensemble also became a popular feature on campus, directed by Rick Everitt and later Laud Vaught. Other small ensembles included the Ladies Ensemble, Chorale Band, Unity, and Heart’s Cry. Early instructors in Church Music included Michael Baker, Glen Sauls, and Eddy Wilson, offering music training to ministers, missionaries, and worship leaders in a distinctly Pentecostal tradition. In 1999, East Coast became an extension of Lee University and was eventually absorbed into the program in Cleveland.
By 1955, the school had formed a choir with H.B. Thompson as director. In 1956, Paul L. Walker—then serving as state Sunday school and youth director for California/Nevada—also became principal of the high school. Walker, who sang in a choir during his studies at
Lee, brought greater structure and organization to the music program and led the choir on tours to help raise funds to construct the school’s facilities. During Horace Ward’s leadership as president, all areas of the school were enhanced, including the music program. Dan Petty, Mark Bailey, and Siema Swartzel made additional contributions to the program. The New Life Singers, as well as other instrumental and small ensembles, ministered on campus and throughout the region until the school closed in 1992.
During segregation, the Church of God “Colored Work” also developed Bible training schools. Beginning in 1959, the overseer of the Church’s Black ministries, J.T. Roberts, partnered with Lee College to offer summer programs in Jacksonville, Florida, and later in Philadelphia, Pennsylvania, featuring Bible, evangelism, and music instruction with teachers such as J.H. Walker, Jr., Lucille Walker, Charles Carpenter, and Delton Alford. Choirs played a central role, and Alford helped shape the musical life of these schools and, conversely, the students’ local churches. Such programs offered access to education for African Americans before most of the church’s educational institutions were integrated in 1966.
East Coast Bible College (ECBC), located in Charlotte, North Carolina, was founded in 1976. Initially established as a three-year Bible and Music Institute, the school became a four-year college in 1978. Music was a prominent emphasis at ECBC, and the College Choir and East Coast Chorale ministered on campus under the direction of Eddy Wilson and Keith Ivester. Small traveling ensembles soon followed. Covenant, formed in 1979 with Sammy Oxendine as director, served as the school’s ministerial promotion ensemble, traveling internationally and performing at Church of God events with notable effectiveness in evangelism. Dayspring, established in 1980, ministered at denominational events, youth camps, camp meetings, churches, and youth rallies throughout the Southeast. An instrumental ensemble also became a popular feature on campus, directed by Rick Everitt and later Laud Vaught. Other small ensembles included the Ladies Ensemble, Chorale Band, Unity, and Heart’s Cry. Early instructors in Church Music included Michael Baker, Glen Sauls, and Eddy Wilson, offering music training to ministers, missionaries, and worship leaders in a distinctly Pentecostal tradition. In 1999, East Coast became an extension of Lee University and was eventually absorbed into the program in Cleveland.
Margaret Gaines teaching music theory and reading shape notes at the Middle East Theological Institute at the Mount of Olives Church of God in Jerusalem in 1965.
Internationally, music also plays a significant role in Bible schools and seminaries operated by the Church of God. One example is the European Theological Seminary (ETS) in Kniebis, Germany, which began in 1949 as a Bible training course in Schorndorf and, by 1958, had developed into the German Bible School at Krehwinkel. At ETS, the music program emerged informally as students played instruments and sang in the local community, along with Eddie and Irma Williams, and eventually organized a formal band and choir. Mary Morris was a significant influence on the school’s music ministry, followed by the contributions of Benson and Cathy Vaughan and Joel Barron. After the Vaughans assumed leadership as music directors in 1999, they established annual Easter tours with the EBS Singers (later ETS Singers), traveling each year to a different region of Europe, including England, the Netherlands, Spain, and other Western European countries. Currently, Norbert and Anna Pawlak, former ETS students and graduates of Lee University, direct music at ETS.
Reflecting on his time as a student, current ETS President Manuel Martin-Arroyo recalls, “I was personally influenced by the music ministry of ETS as an undergraduate. These were times of ministry, fellowship, but above all, of deep spiritual formation and personal encounters with the Lord.” Today, music remains a vital part of campus life, especially in chapel and other worship services, and students continue to minister through music in local churches throughout the region.
Other Church of God Bible schools also enjoy music programs, such as SEMISUD, the Church of God seminary of South America located in Quito, Ecuador, which offers music courses and has recently constructed a recording studio. Benson Vaughan currently directs the SEMISUD student choir and leads performances at the institution’s graduation ceremonies.
Together, Lee’s music program and the Bible schools it inspired have created a legacy that continues to influence worship and ministry around the world. More than a century later, that same musical heartbeat guides and inspires each new generation and strengthens the ministry of the Church of God.
Reflecting on his time as a student, current ETS President Manuel Martin-Arroyo recalls, “I was personally influenced by the music ministry of ETS as an undergraduate. These were times of ministry, fellowship, but above all, of deep spiritual formation and personal encounters with the Lord.” Today, music remains a vital part of campus life, especially in chapel and other worship services, and students continue to minister through music in local churches throughout the region.
Other Church of God Bible schools also enjoy music programs, such as SEMISUD, the Church of God seminary of South America located in Quito, Ecuador, which offers music courses and has recently constructed a recording studio. Benson Vaughan currently directs the SEMISUD student choir and leads performances at the institution’s graduation ceremonies.
Together, Lee’s music program and the Bible schools it inspired have created a legacy that continues to influence worship and ministry around the world. More than a century later, that same musical heartbeat guides and inspires each new generation and strengthens the ministry of the Church of God.
El fortalecimiento de un movimiento
La formación musical ha definido nuestra identidad como Iglesia de Dios. En los primeros años de la Escuela de Formación Bíblica (ahora Universidad Lee), la música surgió de la adoración de los estudiantes. En 1930, Otis L. McCoy estableció el primer programa musical estructurado de la escuela, y la instauración del título de Maestría en Música Eclesiástica en 1995 afirmó el
compromiso de la universidad de preparar músicos para el servicio y el liderazgo global.
En la Escuela de Formación Bíblica surgieron grupos de actuación—no solo para actuar, sino para ministrar. En la década de 1940 se produjo una expansión con un Coro Mixto que más tarde se dividió en Coros de Gira y Coros del Campus. Otros grupos incluyen Lee Singers, Ladies of Lee, Evangelistic Singers, Symphonic Band y Voices of Lee.
A partir de la década de 1930, la Escuela de Formación Bíblica inició escuelas de verano de Biblia y música. Celebradas inicialmente en Maine, Florida y Carolina del Norte, dieron lugar a instituciones permanentes como el Northwest Bible College y el International Bible College. En el oeste, la capacitación comenzó en 1944 en Washington, con enseñanza bíblica, evangelización y música; y lo que llegó a convertirse en West Coast Christian College incluyó un programa de música. Durante la segregación racial en los Estados Unidos, la obra afroamericana conocida como la “Obra para personas de color de la Iglesia de Dios” desarrolló escuelas que ofrecían formación bíblica, evangelización y música. En Carolina del Norte, East Coast Bible College comenzó en 1976 como un instituto bíblico y musical.
compromiso de la universidad de preparar músicos para el servicio y el liderazgo global.
En la Escuela de Formación Bíblica surgieron grupos de actuación—no solo para actuar, sino para ministrar. En la década de 1940 se produjo una expansión con un Coro Mixto que más tarde se dividió en Coros de Gira y Coros del Campus. Otros grupos incluyen Lee Singers, Ladies of Lee, Evangelistic Singers, Symphonic Band y Voices of Lee.
A partir de la década de 1930, la Escuela de Formación Bíblica inició escuelas de verano de Biblia y música. Celebradas inicialmente en Maine, Florida y Carolina del Norte, dieron lugar a instituciones permanentes como el Northwest Bible College y el International Bible College. En el oeste, la capacitación comenzó en 1944 en Washington, con enseñanza bíblica, evangelización y música; y lo que llegó a convertirse en West Coast Christian College incluyó un programa de música. Durante la segregación racial en los Estados Unidos, la obra afroamericana conocida como la “Obra para personas de color de la Iglesia de Dios” desarrolló escuelas que ofrecían formación bíblica, evangelización y música. En Carolina del Norte, East Coast Bible College comenzó en 1976 como un instituto bíblico y musical.
Louis F. Morgan, PhD, is Director of Squires Library on the campuses of Lee University and Pentecostal Theological Seminary. He serves as historian of Lee University and as a member of the Church of God Historical Commission.