Dr. Mark Tse is a Canadian conductor and educator, serving as Assistant Professor of Instrumental Music Education at the University of Saskatchewan, and a settler living on the Treaty Six Territory and the Homeland of the Métis. He conducts the University’s Symphony Orchestra and is an instructor of conducting, instrumental music teaching in secondary schools, and guitar pedagogy.
Dr. Tse values kindness, collectivism, and continuous learning. He is dedicated to co-creating opportunities for everyone to access and cultivate the joy of music, which includes musicians, conductors, composers and audiences, as well as people and genres who have historically been marginalized from orchestral music.
In the 2016 American Prize competition, he won 3rd place for Community Band Wind Ensemble Conducting and an Honourable Mention for College/University Wind Ensemble Conducting. In 2015, he won 2nd place for College/University Wind Ensemble Conducting.
Dr. Tse holds a doctorate in Wind Ensemble Conducting from the University of Washington, a Master of Music (Wind Ensemble Conducting) from the New England Conservatory, a Master of Music (Music Education) from the University of Western Ontario, as well as a Bachelor of Music (Music Education) and a Bachelor of Education (Instrumental Music) from the University of Toronto.
On Long Island, Dr. Tse has guest conducted the Atlantic Wind Symphony, served as co-chair of the Suffolk County Music Educators’ Association Division 3 East Band Festival and has presented workshops for the New York State Council of Administrators of Music Education. He is published in the Canadian Music Educators Association Journal and has adjudicated band festivals and conducted band workshops in Seattle. Prior to his graduate studies, Dr. Tse taught instrumental high school music for eleven years in his home city Toronto.
This study compares the repertoire, business models, and philosophies of four American professional wind bands; Dallas Winds, Lone Star Wind Orchestra, San Diego Winds, and the Royal Hawaiian Band. For the purposes of this study, “professional” is defined as generating sufficient income to pay the performers.
Published by the Canadian music educator, 59 (2). pp. 18-22.
This paper is about how the wind band world's continued quest for new "works" continues a century-old quest for respect, and a suggested path to move forward. It was recently published in the Canadian Music Educators Journal.
A nationally-acclaimed resource for wind musicians, conductors, and educators. Prized Composers is designed to highlight the wind works of distinguished, prize-winning composers, for the advancement of quality repertoire in the field of wind music. So far, winners of the Pulitzer Prize, Grawemeyer Award, Guggenheim Fellowship, Rome Prize, and the Academy Arts and Letters Music Prize are included.
A proposal for the creation of a critical edition of Darius Milhaud's landmark ballet La création du mode 81a, through a reconciliation of the original manuscript score, and the version for piano quintet.
As a frequent mover, I find myself once again benefiting from living and working on land that is not my own. I respectfully acknowledge that I am on Treaty Six Territory and the Homeland of the Métis. I commit myself to learning more about the injustices done to the First Nation and Métis ancestors and will work toward righting the wrongs of the past with their descendents, my neighbours.
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