- PhD, Music Theory, University of North Texas
- MA, Music Theory, Eastman School of Music
- BA, Piano, Bob Jones University
Following piano studies at the Clarkston Conservatory of Music and music camp at Michigan State University, Mark enrolled in BJU, graduating with a degree in piano performance under the direction of Laurence Morton. Continuing studies at the Eastman School of Music, he was taught by Douglass Green, David Beach, David Russell Williams, Robert Gauldin, Dorothy Payne, and Blair Cosman (piano and composition). His masters' thesis on three compositions of Howard Hanson formed the basis of a paper presented at the Music Theory Society of the Mid-Atlantic States on March 21, 2014. After Eastman, Mark returned to BJU, continued piano studies with Morton, and taught piano lessons and theory classes. Further study at the University of North Texas with Cecil Adkins, Benito Rivera, Robert Wason, Edward Latham, Thomas Clark, Gene Cho, Lester Brothers, and Fred Kern, led to the PhD in music theory. He prepared a piano recital under Steven Harlos and studied treatises of the French Baroque theorists in preparation of his dissertation.
Upon his return to BJU, he initiated computer-assisted instruction (CAI) in music with the adoption of ear-training software: several generations of CAI software were implemented in the theory curriculum (GUIDO, Music Lab, Practica Musica): These greatly enhanced students' grasp of aural skills. Mark also developed programmed ear-training assessment drills which were used briefly but were superseded by computer-based platforms. For many years, Mark supervised group piano instruction and maintained the equipment of the piano lab. Following this, he oversaw the design and equipping of the new music technology lab and served as chair of the Department of Music Technology until this discipline was absorbed into the Department of Music Theory, Composition, and Music Technology.
Mark teaches core music theory courses, piano lessons to music majors and minors, post-tonal compositional techniques, two courses in Schenkerian analysis, and Stylistic Analysis I and II. Following the Fourth International Schenker Symposium at Mannes College in 2006, Mark studied with Edward Laufer, a leading Schenkerian analyst. Mark compiled numerous ear-training drills into an Aural Skills Syllabus, which formerly was a required text in the basic aural skills curriculum. He has authored a text for his graduate courses in Stylistic Analysis, The Analysis of Western Musical Styles in Historical Context. Current research areas include counterpoint, Schenker, and post-tonal techniques.