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: 9/28/17
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: Make eye contact with individuals rather than just
Teacher maintains eye contact throughout the rehearsal and is out of the score 4
as much as possible. scanning
2. Non verbal affect; facial affect:
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is pleasant 4 More positive tone in the voice
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 4 Create a more joyful and positive tone
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, Make sure the choir can hear you (closer to the
forced, varied and expressive. The teacher is not speaking on the cords or 3
speaking without resonance. Teacher does not speak over the choir. The choir microphone)
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 Stop the Ums!!!
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 4 Memorize it better to be clear and concise
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.
4 Better than last time, could still be more crisp
 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).
4 Continue to follow only whats written in the script

3. Minimum of talking:
As a result of a Direct Instruction model (DI) teacher talk is at a minimum. 7 4 Less talking- more direct
words of less. Off task talking is not evident, or used as a teacher strategy.
4. Effective rehearsal plan:
Teacher has a well thought out, effective, developmentally sequenced rehearsal 3 Redo things that are not clear- dial it back, as well as forward
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:

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 Speak the goals faster and clearer
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: Have the choir aurally participate more (less piano so they
Teacher demonstrates appropriate use of aural, kinesthetic and visual modeling 4
to communicate musical concepts and performance style.
have to listen to each other)

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 Fix breathing from the start- will help rest of
appropriate use of pedagogical explanations as well as watching for/listening
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rehearsal
for tension and pressure.
9. Tonal Development: 4 Ask the choir to listen and blend with each other
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: Pick a fun activity to do next time for when they are
The lesson is sequenced in manageable chunks that accomplish the goals, 4
reference the rehearsal threads and use in correlation to the golden mean
feeling tired
proportion for the given length of the rehearsal period. There is a clear
scaffolding and sequencing present.

12. Use of solfege

4 Clearer hand 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
4 Clearer cueing
choir, without counting off.
0. Behaviors of Musical Acquisition: Conductor demonstrates increased Score study needs to improve- stop looking at the
dedication and focus on: Listening, aural imagery, score study, increased 3
practice time and mastering longer pieces. music
I. Basic Function Level: Kinesthetic Continue to bring kinesthetic movement into the rehearsal-
Conductor demonstrates appropriate kinesthetic functioning, including: 5
Spine/lengthening, feet grounded/standing position, still knees, lowered
make accommodations when needed
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 Continue to smile, only check the music, not read
ensemble, checking vs. reading music, connecting to the ensemble and making
eye contact while cueing
II b. Somatic Level: Breath 3 Stabilize the breaths given to the choir- lead by example
 T. E. A. R. - Teacher Effectiveness Assessment Rubric p. 4
Dr. Jo-Anne van der Vat-Chromy
James Madison University 2011 All rights reserved
Conductor performs and demonstrates an accurate and stable opening breath
and continued to breathe for and with the ensemble as appropriate for the piece
or excerpt.

III a. Technical Level: Pattern and Tempo

Conductor performs and demonstrates an accurate and stable conducting
4 Do not lag! Keep up the pace
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 Bring in left-hand use!!
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 Show the stylistics of the piece through facial affect and
nuance in the gesture with clear and precise shapings, rubato, and decisions that
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conducting
clarify the aural image.

PART I: Comments and Reflections:

I thought I would be less nervous the second time around but that was not the case! I need to prepare
more for the fact that I will get nervous. This includes preparation as much as possible and running through
my script and conducting in front of a mirror. My conducting is improving, but I still have flimsy wrists and
unclear cues. For next time, I would like to prepare my conducting and have intention movement with the
left hand. I still have side notes during transitions that need to be fixed. I feel as if I am trying to move faster
than my brain can process, but that just means I need to be prepared more so that I am thinking way ahead
 T. E. A. R. - Teacher Effectiveness Assessment Rubric p. 5
Dr. Jo-Anne van der Vat-Chromy
James Madison University 2011 All rights reserved

of what is happening. It is kind of like when you play the piano, as you look at least a few measures ahead
of what youre actually playing. One cannot do this without knowing whats coming ahead and being
prepared. I did feel more confident in front of the choir and it is a positive experience to have people
smiling back at you, even if you make a mistake.