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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: 9/27/18
Repertoire:
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:
Teacher maintains eye contact throughout the rehearsal and is out of the score 4 I need to get out of my lesson plans!
as much as possible.
2. Non verbal affect; facial affect: 3 At times I was really focused in getting the notes
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is
pleasant and reflective of the mood of the piece.
right, and wasn’t able to maintain the character of
the song.
3. Emotional tone, mood, humor: 4
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking voice I stayed positive!
and style of interaction is empowering, joyful and positive.
4. Use of speaking voice: 4
The speaking voice is used a mirror of the singing voice. Speaking is not too I stayed very calm! I do think I could be more
loud, forced, varied and expressive. The teacher is not speaking on the cords
or speaking without resonance. Teacher does not speak over the choir. The assertive and less hesitant with my directions.
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 could move around more.
all parts of the room.
6. Classroom management: 4
her has many skills that manage behaviors, transitions, and is inspiring to their They are such great listeners!
students. Teacher manages the energy of the classroom and the students.
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
0. Prepared Rehearsal Guide: 4
Teacher has prepared a rehearsal guide in advance of teaching a piece, and I think I was very prepared, but
uses this guide to inform, pace, and sequence the learning in rehearsals.
1. Pacing: 3 I needed to guage the energy of the room. My
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
tempo was very slow and needed to be a lot fast to
evident. not make it boring! I also needed to wind it
forward.
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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 I forgot to give directions at certain points which
approval or disapproval). made it confusing.

3. Minimum of talking: 3 Sometimes my feedback was too long! Less is better

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. at times!
4. Effective rehearsal plan: 4
Teacher has a well thought out, effective, developmentally sequenced I think they did a great job with learning the music.
rehearsal plan, that is guided and informed by their rehearsal guide. The
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
rehearsal, and what learning strategies will be employed in order to work the
I said all of my statements at the beginning.
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 always think that more kinesthetic learning could be used.
Teacher demonstrates appropriate use of aural, kinesthetic and visual
modeling to communicate musical concepts and performance style.

7. Vocal Pedagogy and Breathing - Bodywork: 2

Teacher develops the fundamentals of breathing and vocal production though I needed more demonstration of this.
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
appropriate use of pedagogical explanations as well as watching for/listening
I was lacking in keeping up with breath technique.
for tension and pressure.
9. Tonal Development: 2 I didn’t focus on the tone of the piece.
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: 3 My sequencing was pretty good, I just needed to go
The lesson is sequenced in manageable chunks that accomplish the goals,
reference the rehearsal threads and use in correlation to the “golden mean”
quicker.
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 to learn the piece.

13. Learning Summary: 3

On a consistent basis, a summary of learning is presented in the last 1.5 I thanked them for doing a good job with the notes
minutes of most rehearsals. The learning is summarized, and then students are at the end, but didn’t summarize the learning.
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 My transitions were choppy.
the choir, without counting off.
0. Behaviors of Musical Acquisition: Conductor demonstrates increased I focused on this towards the end when I was
dedication and focus on: Listening, aural imagery, score study, increased 3
practice time and mastering longer pieces. conducting the piece with Tonya playing.
I. Basic Function Level: Kinesthetic 3 Needed way more kinesthetic learning.
Conductor demonstrates appropriate kinesthetic functioning, including:
Spine/lengthening, feet grounded/standing position, still knees, lowered
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 3 Could use more eye contact.
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 3 I needed to demonstrate singing on the breath more.
piece or excerpt.

III a. Technical Level: Pattern and Tempo

Conductor performs and demonstrates an accurate and stable conducting
2 Needed to go 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 4 Cues were more precise than the first time.
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 I was not conducting full-out when they were singing the
nuance in the gesture with clear and precise shapings, rubato, and decisions
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piece a cappella.
that clarify the aural image.

PART II: Comments and Reflections:

I was so caught up in teaching them the notes of the song, that I left out a lot of important technique
that they needed to be transferring into their singing consistently. My greatest takeaway is to make
sure that I am constantly combining the artistry with the technique. The notes of a song are important,
but if they don’t have the artistry or the breath support behind them, it might be very hard to reach
those flow moments.