Mission Statement

I approach the human voice with as much of an understanding of the human being as of the voice itself. To sing is to be human, and it has been my experience that no significant learning can occur without a connection to who we are as people. The voice, after all, is the vulnerable expression of our common human experiences.

As such, I have discovered, honed, and continued to share one of the most complete educations that an individual can receive. Singing is psychology, neuroscience, mathematics, physiology, acting, linguistics, multilingual, speech science, physics and acoustics, collaboration, professionalism, and humanity. We may never become experts in every one of these subjects, but the recognition of its wide-ranging and deeply complex web of knowledge areas informs my singing teaching every day. I maintain relationships with awe-inspiring colleagues across these disciplines to further my own learning, constantly reinvigorating my desire to absorb new (and old) truths of vocal expression and how they relate to subjects throughout the field of education.

I look to guide and encourage students in their vocal journeys, paying forward the generosity of my mentors as I now mentor my own students. I demonstrate clear communication, healthy spoken voice use, good piano skills, patience, subject-matter expertise, and the humility to be in service of my client: the student. I model the behaviours advantageous to professional musicianship by showing kindness, staying physically healthy, prioritizing collective success over my own, arriving on time, and continuing to practice what I teach. I use my knowledge of educational psychology, learning theory, and instructional techniques to translate my understanding of singing to my students in a digestible way. This allows my students to achieve a foundation of vocal production based in time-honoured pedagogy, scientific data, and joyful artistic expression.

No matter from where my students and colleagues come, or what they look like, or how they identify, I will be the teacher and colleague to welcome them into any space in which they want to make music. I continue to commit to learning about and celebrating our differences until, in the words of my hero, Dr. Johnnetta B. Cole, “difference no longer makes a difference.”

To facilitate the open-door nature of my studio and its safe space, I enjoy hearing from students, parents, and colleagues who wish to discuss our working together. The unique nature of private musical lessons necessitates a level of trust, simpatico, and understanding to create the human connection required for learning to happen. When our humanity comes first, it reminds us of my most important philosophy of all: if we’re not having fun when we sing, let’s go do something else!

Biography

Dr. Mark Wilkinson is an artist who defies labels in his pursuit of artistic projects of unique proportions. At once a classically trained actor and singer, he has navigated the largest stages and concert halls and the most intimate venues and black box theatres, performing drama, opera, comedy, musical theatre, jazz, pop, folk, country, and more. This eclectic performance career has expressed a rare versatility of artistry founded in a gift for truthful storytelling in such a vast array of repertoire. His rich voice and disarming personality have earned him the respect of audiences around the world.

Dr. Mark is grateful for an enriching return to international performances for the 2022/23 season after the worst of the pandemic. He reappears with Ottawa Chamberfest for an evening of Broadway, débuts newly commissioned compositions with pianist Valerie Dueck for the East Chamber Music Festival, collaborates with pianist Audrey Andrist in recital at the Arts Club of Washington, D.C., and sings the Fauré Requiem with the Canadian Centennial Choir.

Known for consummate collaboration in both music and theatre, his unique journey has taken him through traditional repertoire, experimental stage works, choral music, cabaret, recital, black-box theatres, and premiere pieces. Highlights include Music and Beyond with PDQ Bach, the Ottawa Writers Festival with Margaret Atwood, the Governor General’s Performing Arts Awards (CBC Television), Soundstreams Canada with Maria Guinand (CBC Music), the King’s College Chapel Choir with Paul Halley (CBC Music), The Aldeburgh Connection, the Edmonton Symphony, the Early Music Festival of Alberta, the Richard Eaton Singers, the Ottawa Baroque Consort, recitals throughout Austria, le Nouvel Opéra, and a long-time collaboration with the Sesquisharp Ensemble and its forward-thinking theatrical creations, including the premiere of Ryan Keebaugh’s chamber work of mad scenes, DeSceNt inTo mAdnEss.

Dr. Mark holds the Doctor of Musical Arts in Voice Performance and the Certificate in Singing Health from The Ohio State University, a collaboration between the departments of music, speech and hearing science, and otolaryngology. At once a singing teacher, acting and speech coach, and voice scientist, Dr. Mark is one of Canada's leading voice pedagogues with a singular ability to habilitate and rehabilitate both professional and aspiring professional voice users. In addition to his rare background in clinical voice therapy and laryngology, he is known as an expert in educational psychology, curriculum design, and the neuroscience of learning.

He owes a fond debt of gratitude to all of his colleagues from whom he has learned so much over the years, thanks to their generous artistry and natural guidance.