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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: 10/04/18
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 was prepared for this lesson and focused more on
Teacher maintains eye contact throughout the rehearsal and is out of the score
4 making eye contact instead of looking down at my
as much as possible.
paper.
2. Non verbal affect; facial affect: 4
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is I stayed composed.
pleasant and reflective of the mood of the piece.
3. Emotional tone, mood, humor: 4
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking voice The energy of the room was very easy-going.
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 spoke into the microphone, but I do think I could
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 be a little assertive.
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 didn’t leave my stand at all.
all parts of the room.
6. Classroom management: 4
her has many skills that manage behaviors, transitions, and is inspiring to their They were great listeners and participants!
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 had a script written out word-for-word.
uses this guide to inform, pace, and sequence the learning in rehearsals.
1. Pacing: 2
Teacher demonstrates an active, crisp tempo in rehearsals that keeps students
My pacing was still slow. I think I need to work on
engaged and on task. Use of a considered vocal style, and a practiced style is continuing to wind-it-forward while gauging the
evident. energy of the room. If I do this, then I’ll be able to
accomplish my lesson plan goals.
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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 My lesson plan was written out in the correct form,
approval or disapproval). but I didn’t execute it as well as hoped.

3. Minimum of talking: 4
As a result of a Direct Instruction model (DI) teacher talk is at a minimum. “7 They sang for most of the time.
words of less”. Off task talking is not evident, or used as a teacher strategy.
4. Effective rehearsal plan: 4
Teacher has a well thought out, effective, developmentally sequenced The basses knew their part very well.
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: 3
The lesson begins with a statement of goals (what music is to be rehearsed, I began with the choir singing. I think this is an alright
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
strategy as long as I say it after. (use the choir singing as a
rehearsal threads and accomplish the goals (vowel singing, solfege, in what foreshadow to the rehearsal threads)
keys, counting, count-singing, looping, etc.) This information is on the board.
6. Use of models: Vocal, Aural, kinesthetic, visual: 3 I needed more visual and more opportunities for kinesthetic.
Teacher demonstrates appropriate use of aural, kinesthetic and visual
modeling to communicate musical concepts and performance style.

7. Vocal Pedagogy and Breathing - Bodywork: 3 I didn’t demonstrate the proper bodywork while having them
Teacher develops the fundamentals of breathing and vocal production though
a kinesthetic approach to function, and teaching “how”. repeat after me.
8. Vocal Pedagogy and Breathing - Pedagogy: 4
Teacher develops the fundamentals of breathing and vocal production though I could have transferred more from the warm-ups
appropriate use of pedagogical explanations as well as watching for/listening into the piece.
for tension and pressure.
9. Tonal Development: 3 I was so focused on teaching them the correct solfege that
Teacher develops the tone of the choir on a continual basis throughout
rehearsals through attention to bodywork, vowels, placement blend, and
tone got left behind.
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 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
They were very kind and gracious with me when I got the
solfege wrong! Other than that one time, solfege was
successful!
13. Learning Summary: 3
On a consistent basis, a summary of learning is presented in the last 1.5 I had a wonderful exit with them, but I didn’t give
minutes of most rehearsals. The learning is summarized, and then students are myself enough time for a learning summary.
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
4 The transitions were smooth.
the choir, without counting off.
0. Behaviors of Musical Acquisition: Conductor demonstrates increased
dedication and focus on: Listening, aural imagery, score study, increased 3 I could have used more artistry in my conducting.
practice time and mastering longer pieces.
I. Basic Function Level: Kinesthetic 4 They used a lot of solfege hand-signs.
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 4 I made eye contact with them.
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 I need to remind them to stay on the breath and show this
and continued to breathe for and with the ensemble as appropriate for the 3
piece or excerpt. through my conducting.

III a. Technical Level: Pattern and Tempo I was conducting in 4/4 because I was focused on the notes so
Conductor performs and demonstrates an accurate and stable conducting 2
pattern appropriate for the piece or excerpt. Conductor performs and
much. I needed to conduct in the correct time.
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 My cut-offs at the ends of phrases were solid.
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 need more interpretation for the next round.
that clarify the aural image.

PART II: Comments and Reflections:

My greatest takeaway from this lesson is to remind myself to not only think about the notes, but also
think about the tone and how to create the best tone through breath support and artistry. Maybe one
solution to this could be writing kind reminders in my music about staying on the breath and
maintaining my artistry not only during performance time, but also during rehearsals!