mseerup01@hamline.edu
markseerup762

Contact Info

Mark Seerup

Mark Seerup

Faculty

Contact Info

Mark Seerup

Biography

Oboist Mark Seerup has performed and recorded with a wide variety of musical organizations including the Minnesota Orchestra, the St. Paul Chamber Orchestra, Chicago's Music of the Baroque, the choral group Magnum Chorum, the NY Kammermusiker, and the Minnesota Opera. With Marilyn Zupnik he is a founding member of the Arietta Ensemble and performed in the flute, oboe, piano trio Indande with flutist Amy Morris. Active in educational outreach and private teaching, he is also on the faculty of Macalester College. Mr. Seerup is also widely known as a professional reedmaker and performs as a soloist regularly at several Twin Cities churches. Teachers and mentors include Carl Holub, Rhadames Angelucci, Ray Still, and James Brown.

Teaching Style

My approach to teaching the oboe is based in large part upon my early grounding in the pedagogical work of Marcel Tabuteau at the Curtis School of Music. That approach emphasizes an understanding of phrasing and musical expression combined with a disciplined approach to technique and personal growth as applied to the study of the oboe. The basic texts used by Tabuteau included the methods of Barret, Brod, and Ferling in addition to the studies of scales and the technical studies of Ferling. While this approach has been proven to be successful over time, my experiences as a performer and teacher have led me to believe that it is vital to supplement this material with "real' music by the great composers such as Bach, Mozart, and Beethoven. For example, I like to use excerpts side-by-side with Barret Melodic Studies to illustrate their practical application. There is also a large bibliography of teaching materials that I like to use to diagnose specific issues and problems as necessary including various vocalises and flow studies as used by singers and performers on other instruments. Playing duets are an important part of my teaching in that it addresses ensemble and intonation. I believe that it is my responsibility as a teacher to make available a broad range of appropriate solo and chamber music experiences to foster a life long love of music both as a performer and as a listener.

My teaching includes frequent reference to and incorporation of an understanding of art, literature, musical style, history, and performance practice. It is also important to pass along a basic understanding of anatomy and the psychology of playing and performing as it applies to healthy and efficient oboe playing. To that end, I introduce the Alexander Technique, breathing exercises, approaches to relaxation and stress reduction, and the ideas of learning how to learn and self-sufficiency.

Martin Schuring's book, Oboe Art and Method is a good basic text and guide for all oboe players. I do not want to neglect the importance of providing an understanding for my students of the reedmaking process. It is part of every oboe player's life and a basic knowledge of the process and self--sufficiency is essential.