Edtpa Pfa Assessment Commentary

K-12 Performing Arts
Task 3: Assessment Commentary
TASK 3: ASSESSMENT COMMENTARY

Respond to the prompts below (no more than 10 single-spaced pages, including prompts) by typing your responses within
the brackets following each prompt. Do not delete or alter the prompts. Commentary pages exceeding the maximum will not be
scored. Attach the assessment you used to evaluate student performance (no more than 5 additional pages) to the end of this
file. If you submit feedback as a video or audio clip and your comments to focus students cannot be clearly heard, attach
transcriptions of your comments (no more than 2 additional pages) to the end of this file. These pages do not count toward
your page total.
1. Analyzing Student Learning

a. Identify the specific learning objectives measured by the assessment you chose for
analysis.
[The assessment I chose for analysis is the final written reflection, which takes place after the
students performance in lesson plan four. The standards that are measured in the assessment
are Illinois State Standard 25.A (understand the sensory elements, organizational principles and
expressive qualities of the arts, National Anchor Standard 2 (organize and develop artistic ideas
and work), National Anchor Standard 5 (Develop and refine artistic work for presentation), and
National Anchor Standard 9 (Apply criteria to evaluate artistic work). These standards are seen
in my assessment because students are prompted to make connections between musical
knowledge and artistic work.]
b. Provide a graphic (table or chart) or narrative that summarizes student learning for your
whole class. Be sure to summarize student learning for all evaluation criteria submitted
in Assessment Task 3, Part D.
[
Student Combined Performance and Reflection
Grade
80%
85%
90%
Number of Students who Received that

Grade
2
1
1
The class overall did very well on the performance and written reflection. 75% of the
class received a B and 25% of the class received an A. The bulk of the points that
students earned were during their performance of their piece. Most of the points that
were taken off were due to the lack of a consistent pulse, spelling and grammar errors,
and the students communication while performing the piece. Points were also taken off
for not supporting their answers during the first half of the written assessment, which
asked students to explain what dynamic level certain parts were playing at a designated
measure and why. There were a few students who got the dynamic right but the
reasoning was incorrect or vice versa. Most all of the students excelled in the personal
reflection segment of the assessment. The grading criteria included pulse, tone quality,
dynamics (in regard to bringing out the important parts), communication and
presentation. In the pulse category, all four students received 2 points because the
group did not communicate throughout the performance after they started out with a
slow tempo. This score related then to the communication score, all four students also
received 2 points in this category, because they made eye contact with the other players
at the beginning of the piece but rarely looked up when they were performing, which
contributed to the lack of steady pulse. However all four students excelled and received
4 points in the dynamics category, during the performance it was clear who had the
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important part, and the other students respected their peers by playing softer to expose
the important line.]
c. Use evidence found in the 3 student work samples and the whole class summary to
analyze the patterns of learning for the whole class and differences for groups or
individual learners relative to applying the following within music/dance/theater:
knowledge/skills (e.g., tools/instruments, technical proficiencies, processes,

elements, organizational principles)
contextual understandings (e.g., social, cultural, historical, personal reflection)

artistic expression (e.g., interpretation, creativity, exploration/improvisation, individual
choices)
Consider what students understand and do well, and where they continue to struggle
(e.g., common errors, weaknesses, confusions, need for greater challenge).
[The three student work samples show patterns of learning that applies to the majority of class,
and also differences that are unique to each student. The three focus students each make up
the B or A grading category. Two of the three focus students struggled with grammar and
sentence formatting, which overall was a weakness in my class. This pattern exposes that my
students are still unfamiliar writing about music with terminology and how writing fits in to a
performance based class. However, my three focus students were able to demonstrate in their
writing that they understand the concept of bringing out musical parts within the piece. They
demonstrated their understanding of the concept by providing justification for their answers,
which linked their musical knowledge to their contextual understanding of what it means to bring
out an important part. Although, a common confusion my students had in the assessment was in
question 2, when I asked students to give the dynamic level that part 2 is playing at in measure
19. Most students answered with just one dynamic, however I was looking for an answer that
included two dynamics or mention of the dynamic change that happens in the measure due to
the crescendo present in the music. These questions were designed to challenge my students
to think about what is happening in the music and relate that in their answer. This confusion
shows a gap of foundational music knowledge on how dynamics in a piece relate to musical
symbols, or a misunderstanding of what the question was asking of them. Two of my three focus
students were able to tell that the tempo was too slow during the performance and wrote about
that in their personal reflection. My fourth student (not included in the 3 focus students) was also
able to articulate the slow pulse and gave justification on how the pulse could have improved by
communicating with eye contact during the performance. Overall, my students demonstrated an
understanding of artistic expression and personal decisions that contributed to the unsteady
tempo and how they could have worked towards establishing the correct tempo.]
d. If a video or audio work sample occurs in a group context (e.g., discussion), provide the
name of the clip and clearly describe how the scorer can identify the focus student(s)
(e.g., position, physical description) whose work is portrayed.
[I only did written formal assessments during this learning segment.]
2. Feedback to Guide Further Learning
Refer to specific evidence of submitted feedback to support your explanations.
a. Identify the format in which you submitted your evidence of feedback for the
3 focus students. (Delete choices that do not apply.)

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Written directly on work samples or in separate documents that were provided to the
focus students
If a video or audio clip of feedback occurs in a group context (e.g., discussion), clearly
describe how the scorer can identify the focus student (e.g., position, physical
description) who is being given feedback.
b. Explain how feedback provided to the 3 focus students addresses their individual
strengths and needs relative to the learning objectives measured.
[On the written reflection that student one submitted, I gave specific written feedback that
relates to Illinois State Standard 25.A that gave him knowledge if his answers were correct or
incorrect, and what answer or reasoning I was looking for in context with the expressive
qualities of the piece. An example of feedback that is specific to his correct answer is when I
write, Yes! It is part 1s time to shine! which affirms his answer in relation to part one having
the important part and the dynamic they are subsequently playing to be heard. An example of
when I give feedback to help my student understand a question he answered incorrectly is when
I say, Close! Keep in mind that there is a crescendo during this measure too! this answer
affirms my students efforts but guides him to look closer to what is happening in the music and
how that relates to the dynamic that the part is playing at. In student ones self-reflection
section of the written assessment I gave him feedback that relates to National Anchor Standard
9 (apply criteria to evaluate artistic work), specific to his artistic contribution to the ensemble.
During the performance student one struggles the most with communicating with the ensemble.
My student also detected that the tempo was not consistent during the performance, and wrote
about how that was something the group needed to improve on. I gave him specific feedback
that relates to National Anchor Standard 5, since he needed to work on refining his part so that
he could communicate and improve the piece as whole with the group. I address this at the end
of his written assessment by reminding him that communication can help move the pulse where
it needs to be. I provided specific feedback for student two in the written assessment he
submitted, and addressed areas that he can continue to work on. This student struggled the
most with spelling and grammar so I provided feedback that relates to National Anchor Standard
2 specific to his needs, since my student needed to improve on organizing his thoughts and
justifying his answers. I gave him specific feedback to remind him to elaborate more. An
example is when I ask him to please be more specific in the future after he responds with a
vague answer. At the end of the assessment I remind him to write in complete sentences and
double check spelling on future assignments. Student two is the only student who does not play
on a wooden clarinet, during this unit we worked on blending his tone with the other players and
striving to create a characteristic clarinet tone on his instrument. It was apparent in the
performance that he had worked on blending his tone. At the end of his written assessment I
acknowledge the work he has done which relates to National Anchor Standard 5 and
suggestions on how he can continue to build on his tone by saying, Your tone has noticeably
improved during the unit. Keep working on long tones to build a darker strong tone. I provided
specific feedback to student three on his written assessment that related to his personal
strengths and needs. Throughout the unit student three lacked the self-confidence that the other
players encompass. During the self-reflection part of the assessment I made sure to compliment
my student on his playing and give him feedback that relates to National Anchor Standard 5 on
areas he could improve. I compliment him by saying, I thought you did an excellent job of
blending and playing out during your time to shine! Student three mentioned in his selfreflection that he felt that he could improve on maintaining a steady tone when playing long
notes. I suggest a specific exercise that relates to National Anchor Standard 5 that he can do to
improve maintaining a steady tone on long notes, the exercise I suggest is one that we have
done in previous lessons when working on building our tone. Student three also struggles with
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grammar and forming sentences. Student three is an English Language Leaner, and has a
tendency of writing in the same format of how he would talk, not being very concise. I offer
feedback to him throughout his assessment on words and phrases he can cut out and ways he
can be concise.]
c. Describe how you will support each focus student to understand and use this feedback
to further their learning related to learning objectives, either within the learning segment
or at a later time.
[At a later time I will go over the rubric and feedback given to student one to support him with his
individual learning needs. When I meet with student one I will discuss with him the dynamic
change that occurs when there is a crescendo in the music. I will also draw examples from
lesson three when we did the dynamic warm up game, and how there is a gradual shift in
dynamics over the period of crescendo. To reinforce this concept I will have my student mark in
the gradual change of dynamics by putting a dynamic marking in the beginning, middle and end
of the crescendo. By marking in the dynamics, my student will be able to visualize the change
that needs to happen while playing. I will also point out areas in the music with student one,
where he can play out more to push the tempo along, a comment I mentioned the feedback I
gave on his paper. This will help him in the future when he performs this piece as a group for
solo and ensemble contest, and when he plays other pieces in his chamber group. With student
two I will also meet with him to review the rubric and specific feedback given to him on his
assignment. When I meet with student two I will go over the grammar and spelling corrections I
made. I also will explain what I meant about being more specific with his answers. To make sure
the student understands and applies the feedback in the future I will ask him to expand on the
questions I marked as vague. By having him explain it to me in person, I will be able to guide
him to what an appropriate explanation entails. I also will work with this student on a long tone
exercise that corresponds with my feedback given to him on the assignment. I will first
demonstrate the exercise again for him, and then play along with him. By playing with him, he
can match me as I model the correct tone and dynamic level he should practice the exercise at.
At a later time I will give go over my feedback with student three, who struggled most with
grammar. Before meeting with student three I plan on meeting with his English as a Second
Language teacher to review what writing goals he is working towards so I can continue to work
on those with him. To make sure my student applies the feedback I give him in regards to
grammar, I will give short exit slip assignments in the future that will require complete
sentences. Student three has trouble detecting the problem associated with the tempo during
the performance. To support focus student three in understanding the issue with the pulse I will
have the student watch the performance again with me and have him clap along to the beat. I
will then ask him if he was able to maintain a constant clap pulse the entire time or if he had to
slow or quicken his clap to match to the speed of the performance? The act of clapping will help
him internalize where the pulse needed to be, and where the pulse actually was during the
performance. I also will review with him techniques, such as tapping a foot or toe, which will
help him maintain a steady tempo while performing. My student also expressed in his reflection
that he wants to improve his tone on long sustained notes. To support him I will go over the long
tone exercise, which is mentioned in the feedback I give him. To do this I will take a different
approach than I took with student two. For student three I will do a call and response long tone
exercise where I play a long tone and then he echoes the same long tone back. I will do this so
that he can hear a model of what the tone should sound like and then when he plays the long
tone back he can hear what he sounds like. I will then ask him to add this exercise as a warm
up to his practice routine. To reinforce this feedback I will make sure that each clarinet sectional
we have starts with long tones, and I hear each student play one long tone individually so I can
monitor their progress.]

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3. Evidence of Language Understanding and Use

When responding to the prompt below, use concrete examples from the clip(s) and/or
student work samples as evidence. Evidence from the clip(s) may focus on one or more
students.
You may provide evidence of students language use from ONE, TWO, OR ALL THREE
of the following sources:
1. Use video clips from Instruction Task 2 and provide time-stamp references for
evidence of language use.
2. Submit an additional video file named Language Use of no more than 5
minutes in length and cite language use (this can be footage of one or more
students language use). Submit the clip in Assessment Task 3, Part B.
3. Use the student work samples analyzed in Assessment Task 3 and cite
language use.
a. Explain and provide concrete examples for the extent to which your students were able
to use the
selected language function,

vocabulary/symbols, AND
syntax or discourse
to develop content understandings.
[Students were able to use the key language function of express in video one, lesson two when
we discussed what it means to be musical in the piece, which relates to how we express the
music. Student two (in the green hooded sweatshirt) shows the key language function when he
describes how its not music in math if you just said the number one instead of saying 1 over
1.In video two, lesson three my students demonstrate their use of the key language function at
(9:24) when we discuss how we can bring out the important parts in the piece. Student two
suggests that the group use dynamics express the important parts, and student one (mauve
shirt, grey pants) suggests that other players play softer and back down when it is not their
important part. These answers all contribute to being able to express the melody as a chamber
group. My students were able to demonstrate the use of music vocabulary in their written
assessments. Student one demonstrates his knowledge of music vocabulary in his written
assessment. Student two includes a music symbol representing the vocabulary word, or the
vocabulary word itself in every response. An example of him using vocabulary correctly would
be in his answer to question 7 when he explains what qualities he thought the group succeeded
at during the performance, we played our dynamics really well. Our balance was really nice.
Also our tone was pretty nice. Student one demonstrates his knowledge of music vocabulary in
video two, lesson three (3:10-5:18) when he assists with filling in the quadrants of the pyramid
of sound. Student one gives the correct vocabulary for the first three quadrants of the pyramid of
sound soprano. alto. tenor. Student one continues to show his knowledge of music
vocabulary in his written assessment. He continually writes about the pyramid of sound in
relation to the dynamics in the piece, an example of this is when he writes Part 4 is playing
mezzo forte because even though the overall dynamic is piano, according go the pyramid of
sound, the bass should play slightly stronger than the rest of the group. In this answer my
student demonstrates his understanding of music vocabulary in his self reflection when he says,
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I also think I played with decent tone and I tried to have a dark timbre throughout the piece.
The words he uses accurately describe his playing and are vocabulary words that I have
introduced during the learning segment. Students demonstrate the use of discourse in video
one, lesson two (0:00-0:50) when we discuss what it means to be musical. I ask an open ended
question to my students when I say Who thinks in this piece that we are supposed to play the
same dynamic the entire time by asking this question I am having my student think about the
piece as a literal object and an artistic performance. Focus student one responds to the
question saying that if the music was played that way it would be boring. Another student then
responds to the question with how it wouldnt be musical. This student then goes on to explain
how being musical means to play with dynamics and be lively. Focus student two then chimes
in with how the concept of being musical applies to math. By responding these ways to the open
ended question, my students demonstrate an understanding of the concept of musicality, which
then can be applied to core concept of the lesson (finding the important musical parts in each
line). Another example of my students demonstrating discourse is in video two, lesson three
(0:00- 2:15) when I ask each student to respond to questions related to a listening example.
Each question I ask the students is tailored specifically to their learning level, and often includes
a follow up question so the students can demonstrate their understanding of the concept of
balance. The first question I ask to focus student two is What is one way this group achieves
proper balance? Student two goes on to explain how each player plays with varying dynamics
and play louder when they have the melody, resulting in a balanced sound. Another students
question is relates to the personal change each player needs to make in order to be balanced,
he relates his answer back to focus student two and points out how each player plays louder
when they have the melody. Focus student ones question is what does it mean to have a
balanced sound. He goes on to explain how each player supports one another when they have
the melody to balance the sound. His answer demonstrates his contextual understandings of
elements that come into play when a small group is trying to achieve a balanced sound. Focus
student three displays his knowledge of the concept by answering his question on what other
factors come into play when trying to achieve a balanced sound, by explaining how depending
on the register of the instrument the player does not need to play as loud because the sound will
naturally cut through. By having my students respond to music presented as a listening example
they are developing their own content understandings of what a balanced small ensemble
should sound like, and also what elements make up the balanced sound they hear. Each of my
students answers displayed their understanding of the concept and their development of artistic
skills needed to emulate the balanced sound they heard.]
4. Using Assessment to Inform Instruction
a. Based on your analysis of student learning presented in prompts 1bc, describe next
steps for instruction:
For the whole class

For the 3 focus students and other individuals/groups with specific needs
Consider the variety of learners in your class who may require different
strategies/support (e.g., students with IEPs or 504 plans, English language learners,
struggling readers, underperforming students or those with gaps in academic
knowledge, and/or gifted students).
[As described before the next steps for my clarinet students would be to work on deepening
their understanding of their personal concept of sound, deciphering musical symbols and work
on playing with a consistent tempo. Moving forward, incorporating long tones into every group
lesson will deepen my students understandings of the clarinet and how to produce a rich and
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full sound. Of my individual feedback given to the three focus students, I suggested the long
tone exercise to two of the students. To support these two students understanding of tone I will
have them add long tones into their daily warm up that they do at home when they practice. The
long tone exercise is an appropriate exercise to players and learners of all levels, as well. The
exercise itself does not take too much concentration, a factor that my IEP student would require
accommodations for, and it also does required explanation that uses complex language, which
is also why this exercise is well suited for the class as whole. Long tones on the clarinet require
the student to use a large volume of controlled air, which is no easy task to accomplish. To
deepen student learning on this exercise, I will ask my students to have a tuner on their stand
so that they can see where their pitch tendencies are on their instrument. Students can then
work towards making small physical adjustments to their embouchure to bring their pitch to
where it needs to be. One common mistake all three focus students made was not
distinguishing the dynamic change that occurs with a crescendo or decrescendo. A next step I
plan on taking with my entire class so that they can better understand the concept, is to create a
music game similar to the one that I did as a warm up in lesson two. The musical game would
involve signs that have the musical symbol on it (crescendo, decrescendo, sforzando, etc.) and
raise them as they are playing a scale. By playing this game students are practicing adapting
from symbol to symbol (similar to what happens in music) and also practicing dynamics that
accompany the symbol. This game will be at the appropriate learning level for my student with
an IEP, as he tends to have an easier time staying focused when he is physically playing his
instrument. The game is also accommodated for focus student three, who is an English
language learner, as the game itself does not require an extensive description. I also plan on
having students go in their music and mark in dynamics with the symbol to reinforce the
dynamic change that occurs in the music. To accommodate my gifted student I plan on having
him mark numeric levels in his music to represent the dynamics (1-10), since he understands
concepts better when presented in mathematical terms. Another element my students struggled
with during their performance was starting and maintaining a consistent tempo throughout the
piece. This is an element that they are not accustomed to thinking about, due to the presence of
a conductor in their large ensemble class. One way I would show my class how to establish
tempo is with their body. I would have my students practice showing a breath in time, the same
way the leader of the chamber ensemble will show when to start the piece. I will also have my
students practice moving to upbeat music, showing them how our bodies can show the tempo of
the piece without clapping or tapping our foot. I would then apply their knowledge of pulse and
physical movement back to cueing in a group of musicians to play, by having each student
practice starting the piece with a breath for their classmates to come in. This exercise will
challenge my students to think about piece and how to be a leader in an ensemble.]
b. Explain how these next steps follow from your analysis of students learning. Support
your explanation with principles from research and/or theory.
[The next step I explained for the entire class to improve their concept of sound was to start
building a healthy warm up routine that includes long tones. This concept of building an effective
warm up routine is supported by a doctoral research study composed by Bryan Helsel, from
Kent State University. In his research, Helsel found that a warm up is most effective when they
are tied to instruction, help teach a musical concept and are performed musically with
expression. The warm up I have picked out for my students embodies all of these qualities.
Long tones are directly tied to the concept of balance, which is reinforced in all lessons I teach
my students. Long tones also require musicality as the exercise its self is designed to start at a
strong forte on the lowest on the instrument, E, and then transition seamlessly into a piano by
flipping the register key to bring the pitch up to a B (the exercise then progresses chromatically).
The transition between forte and piano requires control and musicality from the musician playing
the exercise. By adding long tones to my students personal warm ups I am instilling multiple
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warm activities that my students will have access to when they pick up their instruments. The
next suggestion I make to deepen my students understanding of musical terminology,
specifically symbol, is to have them play a warm activity with corresponding signs with the
symbols on them. By having my students play their instrument and adapt to different symbols
presented, I am engaging their critical thinking skills as they connect what the symbol is to how
they represent the symbol on their instrument. I reinforce the concept by also having my
students mark in the dynamic levels in their music so that they can see the change visually.
Students will then express their understanding of the concept by playing the phrase correctly
and showing dynamic contrast. The Universal Design theory supports the idea of teaching the
same concept through multiple methods for learning, to accommodate a variety of different
learners. UDL is a framework for teaching which supports that students are diverse learners
who require different means of engagement, representation and expression for learning. The
UDL accommodates focus student two, as he requires a different representation on the concept
than student one doe, as student two thinks about the world through a mathematical and
strategic lens. By representing the concept through assigning numbers to symbol that represent
dynamics, my student will be challenged to apply the concept in his own way. Like stated before
in my analysis of student learning, most of the points that were taken off in the assessment were
due to lack of a consistent pulse. To support my students in the next step of understanding the
concept of pulse I plan on incorporating movement into my class. Movement and learning,
specifically music, is a concept that is supported by the Dalcroze method of Eurhythmics.
Eurhythmics is an approach, which teaches concept of rhythm, structure and expression by
using movement. By incorporating movement in my class I am engaging my students to
heighten their body awareness while also affiliating rhythm and pulse with a physical
experience. To further support focus student three, who was not able to detect the unsteady
tempo, I plan on having him add a physical movement, such as tapping a foot, to his daily
practice routine with scales and other repertoire, with a metronome or my clapping. To further
challenge student three, I will ask him to try adding his physical movement and gradually work
towards weaning off the metronome click or my clapping, until he is able to maintain a
consistent tempo alone. The approach I am using with student three is supported by Vygotskys
Zone of Proximal Development, which states that when a student is in the ZPD of a specific
task, providing the proper amount of support and assistance the student will eventually be able
to complete the task by themselves. In this scenario, supporting student three at first with
exercises and movement activities he will eventually be able to wean himself off the
metronomes support and mine until he is able to keep a consistent pulse by himself. By having
student three connect a physical movement with a click of a metronome, he will begin to
construct his own understanding of and what he needs to do personally to establish a consistent
tempo. ]

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K-12 Performing Arts

Task 3: Assessment Commentary

TASK 3: ASSESSMENT COMMENTARY

1. Analyzing Student Learning

Number of Students who Received that

K-12 Performing Arts

knowledge/skills (e.g., tools/instruments, technical proficiencies, processes,

contextual understandings (e.g., social, cultural, historical, personal reflection)

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

K-12 Performing Arts

K-12 Performing Arts

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

K-12 Performing Arts

3. Evidence of Language Understanding and Use

selected language function,

K-12 Performing Arts

For the whole class

K-12 Performing Arts

K-12 Performing Arts

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

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