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
A.R.
JMU Student Teaching Observation: Name: Kelsey Wessels
T.E.A.R. - Teacher Effectiveness Assessment Rubric # Date: 12/12/17
Ensemble & Repertoire: VMRC O Little Town of Bethlehem
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: I was up and out of my music, really engaging with the
Teacher maintains eye contact throughout the rehearsal and is out of the score 5
as much as possible. ensemble
2. Non verbal affect; facial affect: I was smiling and I was giving supportive feedback with my
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is pleasant 5
and reflective of the mood of the piece. face.
3. Emotional tone, mood, humor:
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking voice 5 I thought I was being very welcoming and supportive
and 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 I think my voice was good, it was raised and not to loud,
loud, forced, varied and expressive. The teacher is not speaking on the cords or 5
speaking without resonance. Teacher does not speak over the choir. The choir demonstrating a good vocal placement.
does not talk through the rehearsal.
5. Use of the room:
The classroom is arranged in workstation areas. The teacher uses it effectively
throughout the rehearsal, moving around the classroom to engage students in
N/A N/A
all parts of the room.
6. Classroom management:
Teacher has many skills that manage behaviors, transitions, and is inspiring to
their students. Teacher manages the energy of the classroom and the
4 I think I did well, and my 3s are becoming more specific
students.
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
0. Prepared Rehearsal Guide: I have a plan of where I wanted each lesson to be and how I
Teacher has prepared a rehearsal guide in advance of teaching a piece, and
uses this guide to inform, pace, and sequence the learning in rehearsals.
4 wanted to sequence the lessons.

1. Pacing:
Teacher demonstrates an active, crisp tempo in rehearsals that keeps students 5 The pacing in this lesson was good!
engaged and on task. Use of a considered vocal style, and a practiced style is
 T. E. A. R. - Teacher Effectiveness Assessment Rubric p. 2
Dr. Jo-Anne van der Vat-Chromy
James Madison University 2011 All rights reserved
evident.

2. Direct Instruction (DI):

Teacher demonstrates a DI model that gives academic instruction (1as) in I did well with my 1s and 2s, and my threes were specific! I
manageable chunks, allows students to perform or discuss academic content
(2p, 2v) and gives reinforcements with specific related feedback (verbal 3v/n-sr
5 also liked the plan I set for myself and my ability to adjust
approval or disapproval). for time and what the ensemble needed

3. Minimum of talking: I still said more than 7 words, but all of the words used had
As a result of a Direct Instruction model (DI) teacher talk is at a minimum. 7 4
words of less. Off task talking is not evident, or used as a teacher strategy. a purpose!
4. Effective rehearsal plan:
Teacher has a well thought out, effective, developmentally sequenced
rehearsal plan, that is guided and informed by their rehearsal guide. The
teacher varies, departs from or adapts the plan as needed. Scaffolding is 5 I had clearly planned goals and executed them well
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,
I clearly stated my goals at the beginning of my lesson and
including measure numbers) what rehearsals threads will be the focus of the due to lack of time at the end I didnt give a full wrap up
rehearsal, and what learning strategies will be employed in order to work the
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statement, however I dont feel as though it detracted from
rehearsal threads and accomplish the goals (vowel singing, solfege, in what
keys, counting, count-singing, looping, etc.) This information is on the board.
my lesson.
6. Use of models: Vocal, Aural, kinesthetic, visual: I used correct phrase and dynamic gestures, however I can
Teacher demonstrates appropriate use of aural, kinesthetic and visual 4
modeling to communicate musical concepts and performance style. still be working on them to make them more clear
7. Vocal Pedagogy and Breathing - Bodywork: I need to breath more for the ensemble, I didnt do poorly on
Teacher develops the fundamentals of breathing and vocal production though 4
a kinesthetic approach to function, and teaching how. my breath demonstration, but I did not do fantastic either.
8. Vocal Pedagogy and Breathing - Pedagogy:
Teacher develops the fundamentals of breathing and vocal production though
appropriate use of pedagogical explanations as well as watching for/listening
N/A Covered in warm-ups, but I can always slip in a reminder
for tension and pressure.
9. Tonal Development:
Teacher develops the tone of the choir on a continual basis throughout I could have asked for better placement or more sound
rehearsals through attention to bodywork, vowels, placement blend, and
listening for inappropriate vocal sounds or production habits (tension, pushing,
3 production.
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:
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.
N/A Dr. V lead Warm ups

11. Sequence of lesson chunks:
The lesson is sequenced in manageable chunks that accomplish the goals,
reference the rehearsal threads and use in correlation to the golden mean
proportion for the given length of the rehearsal period. There is a clear
scaffolding and sequencing present.
12. Use of solfege
I liked the sequencing I used for this lesson plan, I had two
different plans ready to go, one as a fixer upper and one as a
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meaning lesson plan and I think I choose correctly for what the
ensemble needed.

N/A

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
2 There was no summary because I ran out of time.
invited to give feedback on their learning and the next steps of the ensemble.
Criteria: Conducting Behaviors Grade (1- 5) Next behaviors
0. Fluency: I did a nice job of moving between direction and
Teacher moves between rehearsal instructions and conducting with ease,
fluency and accuracy. Teacher has several different techniques for cueing in the
3-4 conducting. However, I should have started with the new
choir, without counting off. information rather than adding it in the second chunk
0. Behaviors of Musical Acquisition: Conductor demonstrates increased
dedication and focus on: Listening, aural imagery, score study, increased 4 It was clear had an aural image envisioned for the piece
practice time and mastering longer pieces.
I. Basic Function Level: Kinesthetic I could have had my feet closer together and I could have
Conductor demonstrates appropriate kinesthetic functioning, including:
been straighter throughout the lesson, not breaking
Spine/lengthening, feet grounded/standing position, still knees, lowered 4
shoulder girdle, head/neck alignment, arms free and unlocked. alignment as much when giving instructions. And my head
was tilted out of alignment
II a. Somatic Level: Facial Affect & Eye Contact
Conductor demonstrates facial affect and expression appropriate to the piece. I kept an engaged facial affect and good eye contact with
Conductor demonstrates appropriate eye contact, including: scanning the 4
ensemble, checking vs. reading music, connecting to the ensemble and making the ensemble.
eye contact while cueing
 T. E. A. R. - Teacher Effectiveness Assessment Rubric p. 4
Dr. Jo-Anne van der Vat-Chromy
James Madison University 2011 All rights reserved
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 I did well, but there is room for improvement with better
piece or excerpt.
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models of a deep singers breath on cues.

III a. Technical Level: Pattern and Tempo

Conductor performs and demonstrates an accurate and stable conducting
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 Good pattern and the tempo was appropriate for where the
appropriate. 4
ensemble is at with the piece

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 I used my left had to demonstrate phrasing and cut offs and
excerpt. Conductor performs and demonstrates accurate and stable cut-offs 4 the ensemble is watching me more so they are following my
when needed as appropriate for the piece or excerpt. Conductor performs and cues.
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
4 Again, please see the above statement.
that clarify the aural image.