T. E. A. R. - Teacher Effectiveness Assessment Rubric p.

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Dr. Jo-Anne van der Vat-Chromy
James Madison University 2011 All rights reserved

JMU Student Teaching Observation: Name: Isabel Florimonte

T.E.A.R. - Teacher Effectiveness Assessment Rubric Date: 9/14/17
Ensemble & Repertoire: VMRC: Angels We Have Heard on High
Directions: Whether you are observing yourself or another teacher, please fill in both the (Part I) cognitively focused behavioral rubric,
as well as the affectively focused (Part II) Comments & Reflection Section.

COLOR CODING: GREEN = GREAT; BLUE = NEXT STEPS; GRAY = AVOID

PART I:
Criteria: Teacher Behaviors Grade (1- 5) Next behaviors
1. Eye contact:
Teacher maintains eye contact throughout the rehearsal and is out of the score 4 Avoid looking at the music at all when conducting
as much as possible.
2. Non verbal affect; facial affect:
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is pleasant 4 Smile with the eyes more!!
and reflective of the mood of the piece.
3. Emotional tone, mood, humor:
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking voice and 3 Less nervous, more ambitious
style of interaction is empowering, joyful and positive.
4. Use of speaking voice:
The speaking voice is used a mirror of the singing voice. Speaking is not too loud,
forced, varied and expressive. The teacher is not speaking on the cords or 3 More clear and pronounced
speaking without resonance. Teacher does not speak over the choir. The choir
does not talk through the rehearsal.
5. Use of the room:
The classroom is arranged in workstation areas. The teacher uses it effectively Its hard to move around in this space because of
throughout the rehearsal, moving around the classroom to engage students in
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the necessity of the microphone
all parts of the room.
6. Classroom management:
Teacher has many skills that manage behaviors, transitions, and is inspiring to 3 Less alrights and ums during transitions
their students. Teacher manages the energy of the classroom and the students.
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
0. Prepared Rehearsal Guide:
Teacher has prepared a rehearsal guide in advance of teaching a piece, and uses 3 Know when to dial it forward
this guide to inform, pace, and sequence the learning in rehearsals.
1. Pacing:
Teacher demonstrates an active, crisp tempo in rehearsals that keeps students
engaged and on task. Use of a considered vocal style, and a practiced style is
evident.
3 Faster tempo during transitions
 T. E. A. R. - Teacher Effectiveness Assessment Rubric p. 2
Dr. Jo-Anne van der Vat-Chromy
James Madison University 2011 All rights reserved
2. Direct Instruction (DI):
Teacher demonstrates a DI model that gives academic instruction (1as) in
manageable chunks, allows students to perform or discuss academic content
(2p, 2v) and gives reinforcements with specific related feedback (verbal 3v/n-sr
approval or disapproval).
3 Use of more 3sra

3. Minimum of talking:
As a result of a Direct Instruction model (DI) teacher talk is at a minimum. 7 3 Less unnecessary words (ums and alrights)
words of less. Off task talking is not evident, or used as a teacher strategy.
4. Effective rehearsal plan: Develop more alternatives when choir is ahead of
Teacher has a well thought out, effective, developmentally sequenced rehearsal 3
plan, that is guided and informed by their rehearsal guide. The teacher varies,
schedule/behind
departs from or adapts the plan as needed. Scaffolding is evident. Teacher
references past learning and lessons in current lesson. The TIMES for each major
sections of the rehearsal are clearly listed on the rehearsal plan.

5. Statements of Goals, Rehearsal Threads, and Learning Strategies:

The lesson begins with a statement of goals (what music is to be rehearsed,
including measure numbers) what rehearsals threads will be the focus of the
rehearsal, and what learning strategies will be employed in order to work the
4 Add in what strategies will be employed
rehearsal threads and accomplish the goals (vowel singing, solfege, in what keys,
counting, count-singing, looping, etc.) This information is on the board.
6. Use of models: Vocal, Aural, kinesthetic, visual: 3 Use of more kinesthetic visuals
Teacher demonstrates appropriate use of aural, kinesthetic and visual modeling
to communicate musical concepts and performance style.

7. Vocal Pedagogy and Breathing - Bodywork:

Teacher develops the fundamentals of breathing and vocal production though a 3 BREATHE for the choir!!
kinesthetic approach to function, and teaching how.
8. Vocal Pedagogy and Breathing - Pedagogy:
Teacher develops the fundamentals of breathing and vocal production though Give constructive feedback when choir is breathing
appropriate use of pedagogical explanations as well as watching for/listening
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incorrectly
for tension and pressure.
9. Tonal Development: 3 Give constructive feedback more often
Teacher develops the tone of the choir on a continual basis throughout
rehearsals through attention to bodywork, vowels, placement blend, and
listening for inappropriate vocal sounds or production habits (tension, pushing,
using the speaking voice, yelling, chesting, influences of popular music).
 T. E. A. R. - Teacher Effectiveness Assessment Rubric p. 3
Dr. Jo-Anne van der Vat-Chromy
James Madison University 2011 All rights reserved

10. Warm-ups: n/a

2- 5 warm-ups are presented in a 7 minute span that have: a body work &or
breathing component, an initial descending pattern, an exercise for solfege, a
range extension exercise, and a harmonic exercise. At least one warm-up is done
in reference to the material to be covered in the lesson itself.
11. Sequence of lesson chunks: Look at rehearsal schedule to know when during the
The lesson is sequenced in manageable chunks that accomplish the goals, 4
reference the rehearsal threads and use in correlation to the golden mean
overall rehearsal I am going
proportion for the given length of the rehearsal period. There is a clear
scaffolding and sequencing present.

12. Use of solfege

4 Stronger singing and more clear solfege signs

13. Learning Summary:

On a consistent basis, a summary of learning is presented in the last 1.5 minutes
of most rehearsals. The learning is summarized, and then students are invited
n/a
to give feedback on their learning and the next steps of the ensemble.
Criteria: Conducting Behaviors Grade (1- 5) Next behaviors
0. Fluency:
Teacher moves between rehearsal instructions and conducting with ease,
fluency and accuracy. Teacher has several different techniques for cueing in the
3 Strong transition into conducting position
choir, without counting off.
0. Behaviors of Musical Acquisition: Conductor demonstrates increased
dedication and focus on: Listening, aural imagery, score study, increased 3 Conducting work needs more study
practice time and mastering longer pieces.
I. Basic Function Level: Kinesthetic 3 Avoiding floppy wrists and open fingers
Conductor demonstrates appropriate kinesthetic functioning, including:
Spine/lengthening, feet grounded/standing position, still knees, lowered
3 Stronger stance, shoulders back
shoulder girdle, head/neck alignment, arms free and unlocked.

II a. Somatic Level: Facial Affect & Eye Contact

Conductor demonstrates facial affect and expression appropriate to the piece.
Conductor demonstrates appropriate eye contact, including: scanning the 4 Avoid looking at the music entirely
ensemble, checking vs. reading music, connecting to the ensemble and making
eye contact while cueing
II b. Somatic Level: Breath
Conductor performs and demonstrates an accurate and stable opening breath
and continued to breathe for and with the ensemble as appropriate for the piece 3 Breathe more for the choir
or excerpt.
 T. E. A. R. - Teacher Effectiveness Assessment Rubric p. 4
Dr. Jo-Anne van der Vat-Chromy
James Madison University 2011 All rights reserved

III a. Technical Level: Pattern and Tempo

Conductor performs and demonstrates an accurate and stable conducting
3 Increase tempo as note accuracy improves to maintain energy
pattern appropriate for the piece or excerpt. Conductor performs and
demonstrates all of the above criteria in a tempo appropriate to the piece or
excerpt as discussed in class. Refer to metronome marking discussed in class if
appropriate.
III b. Technical Level: Left Hand Use, Cut-offs & Cues
Conductor performs and demonstrates accurate, integrated and clear
coordinated use of the left hand when needed as appropriate for the piece or
excerpt. Conductor performs and demonstrates accurate and stable cut-offs 3 More left-hand gestures besides cut-offs
when needed as appropriate for the piece or excerpt. Conductor performs and
demonstrates accurate and stable cues when needed as appropriate for the
piece or excerpt.
IV. Informed Level: Artistry and Interpretation
Conductor demonstrates mastery of the material by showing musicality and
nuance in the gesture with clear and precise shapings, rubato, and decisions that
3 More score study will help this
clarify the aural image.

PART I: Comments and Reflections:

I was terribly nervous for this rehearsal, and I believe it shows. I was prepared, yet it all goes out the
window sometimes if you let nerves affect you. At the beginning, Dr. V suggested to dial it forward, and I
was able to continue that for the rest of the rehearsal. My conducting skills were a little sloppy and not
artistic, and I will really work on that for next time. I need to remember all skills we learned in intermediate
conducting last semester and practice in front of a mirror. My facial affect was not terrible, but it could
improve. I also would like to work on bringing a faster pace into my lesson plan. With a faster pace I hope
to energize the choir, and then in turn bring to life the music. I hope next time my nervous behaviors, suchs
as the ums, will be corrected and I can portray a stronger confidence for my choir.