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

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

MUS 318 CONDUCTER SELF-ASSESSMENTS Name: Journee Smith

T.E.A.R. - Teacher Effectiveness Assessment Rubric Date:
Repertoire: God Rest Ye Merry Gentlemen
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.

PART I:
Criteria: Teacher Behaviors Grade (1- 5) Next behaviors
1. Eye contact: I needed to look down at my lesson plan several
Teacher maintains eye contact throughout the rehearsal and is out of the score 3
as much as possible. times.
2. Non verbal affect; facial affect: 4 I stayed relatively composed and in the mood of the
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is
pleasant and reflective of the mood of the piece. song.
3. Emotional tone, mood, humor: 4 I think I stayed pretty composed in this category at
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking voice
and style of interaction is empowering, joyful and positive. well.
4. Use of speaking voice: 4
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 I was calm while speaking.
or speaking without resonance. Teacher does not speak over the choir. The
choir does not talk through the rehearsal.
5. Use of the room: 2
The classroom is arranged in workstation areas. The teacher uses it effectively
throughout the rehearsal, moving around the classroom to engage students in
I stayed at the microphone the entire time.
all parts of the room.
6. Classroom management: 4
her has many skills that manage behaviors, transitions, and is inspiring to their The classroom did a good job with focusing.
students. Teacher manages the energy of the classroom and the students.
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
0. Prepared Rehearsal Guide: 3 My lesson was prepared, but I should have
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. practiced it more.
1. Pacing: 2
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 I had several pauses when trying to hear the solfege
evident. in my head which slowed us down.
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“ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p.
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
2. Direct Instruction (DI): 3
Teacher demonstrates a DI model that gives academic instruction (1a’s) 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).
My lesson plan used a DI model.

3. Minimum of talking: 4 For the most part, we sang the entire time using
As a result of a Direct Instruction model (DI) teacher talk is at a minimum. “7
words of less”. Off task talking is not evident, or used as a teacher strategy. solfege and nu.
4. Effective rehearsal plan: 3 I’d say the rehearsal was effective, but boring. It needed more
Teacher has a well thought out, effective, developmentally sequenced
rehearsal plan, that is guided and informed by their rehearsal guide. The
variation.
teacher varies, 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: 4

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 I did start off with discussing the rehearsal threads for the
rehearsal, and what learning strategies will be employed in order to work the day and we accomplished them by using solfege.
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: 4 I used all of these, but I could have used more of kinesthetic.
Teacher demonstrates appropriate use of aural, kinesthetic and visual
modeling to communicate musical concepts and performance style.
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7. Vocal Pedagogy and Breathing - Bodywork: 2
Teacher develops the fundamentals of breathing and vocal production though I did not give much emphasis on the bodywork.
a kinesthetic approach to function, and teaching “how”.
8. Vocal Pedagogy and Breathing - Pedagogy: 2
Teacher develops the fundamentals of breathing and vocal production though I did not give much emphasis on the pedagogy of
appropriate use of pedagogical explanations as well as watching for/listening breathing.
for tension and pressure.
9. Tonal Development: 3 I didn’t focus on the tone as much as I could have.
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).
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“ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p.
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.
11. Sequence of lesson chunks: 4 The sequence was strong, it was just slow.
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 4
I used solfege a good portion of the time.

13. Learning Summary: 3

On a consistent basis, a summary of learning is presented in the last 1.5 I did not summarize the learning as well as I could
minutes of most rehearsals. The learning is summarized, and then students are have.
invited to give feedback on their learning and the next steps of the ensemble.
Criteria: Conducting Behaviors Grade (1- 5) Next behaviors
1. Fluency:
Teacher moves between rehearsal instructions and conducting with ease,
fluency and accuracy. Teacher has several different techniques for cueing in
3 I need to make the transitions quicker.
the choir, without counting off.
0. Behaviors of Musical Acquisition: Conductor demonstrates increased More practice on knowing the solfege/notes by
dedication and focus on: Listening, aural imagery, score study, increased 3
practice time and mastering longer pieces. memory for each part.
I. Basic Function Level: Kinesthetic Use solfege hand signs more with them as well as other
Conductor demonstrates appropriate kinesthetic functioning, including: 3
Spine/lengthening, feet grounded/standing position, still knees, lowered
kinesthetic incorporations
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 Try not to look down at music.
ensemble, checking vs. reading music, connecting to the ensemble and making
eye contact while cueing
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“ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p.
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 4 Always remind them to stay on the breath.
piece or excerpt.

III a. Technical Level: Pattern and Tempo

Conductor performs and demonstrates an accurate and stable conducting
3 The pattern could have been a little faster.
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 My cut-offs could have been more specific.
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
3 I could have shown more musicality through my gestures.
that clarify the aural image.

PART II: Comments and Reflections:

I could feel my nerves just watching this video! I think in the future, I need to work on memorizing the
lesson plans so that I’m not looking up and down from my sheet of paper.