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

Dr. Jo-Anne van der Vat-Chrom y
Jam es Madison University © 2011 – All rights reserved

JMU Student Teaching Observation: Name: Doug Ritcher

T.E.A.R. - Teacher Effectiveness Assessment Rubric Date: 9-27-18 rehearsal
Ensemble & Repertoire: VMRC “First Noel”
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: Did a lot of looking around the room and matching solfege
Tea cher ma i nta i ns eye conta ct throughout the rehea rs a l a nd i s out of the s co 5
much a s pos s i bl e . symbols with people.
2. Non verbal affect; facial affect: Overall atmosphere was very posi ve and even through
Non-verba l a ffect i s pl ea s a nt, s a fe a nd non-judgmenta l . Fa ci a l a ffect i s pl ea 5
a nd reflec ve of the mood of the pi ece. difficult parts I was smiling.
3. Emotional tone, mood, humor:
Emo ona l tone i s pl ea s a nt, s a fe a nd non-judgmenta l . Verba l /s pea ki ng voi ce 5 Though I was more quiet and reserved I was s ll posi ve
s tyl e of i ntera c on i s empoweri ng, joyful a nd pos i ve.
4. Use of speaking voice:
The s pea ki ng voi ce i s us ed a mi rror of the s i ngi ng voi ce. Spea ki ng i s not too
forced, va ri ed a nd expres s i ve. The tea cher i s not s pea ki ng on the cords 3 Not loud enough
s pea ki ng wi thout res ona nce. Tea cher does not s pea k over the choi r. The c
does not ta l k through the rehea rs a l .
5. Use of the room:
The cl a s s room i s a rra nged i n works ta on a rea s . The tea cher us es i t effec v n/a everyone sits
throughout the rehea rs a l , movi ng a round the cl a s s room to enga ge s tudents
pa rts of the room.
6. Classroom management: group stayed engaged generally but some moments it
r ha s ma ny s ki l l s tha t ma na ge beha vi ors , tra ns i ons , a nd i s i ns pi ri ng to 4
s tudents . Tea cher ma na ges the energy of the cl a s s room a nd the s tudents . moved a li le slowly
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
0. Prepared Rehearsal Guide:
Tea cher ha s prepa red a rehea rs a l gui de i n a dva nce of tea chi ng a pi ece, a nd 5 The guide was solid but...
thi s gui de to i nform, pa ce, a nd s equence the l ea rni ng i n rehea rs a l s .
1. Pacing:
Tea cher demons tra tes a n a c ve, cri s p tempo i n rehea rs a l s tha t keeps s tud pacing was very unnecessarily slow
enga ged a nd on ta s k. Us e of a cons i dered voca l s tyl e, a nd a pra c ced s tyl
3 people were engaged but lost a lot of me wai ng for….
evi dent.
nothing.
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“ T. E. A. R.” - Teacher Effectiveness Assessm ent Rubric p.
Dr. Jo-Anne van der Vat-Chrom y
Jam es Madison University © 2011 – All rights reserved
2. Direct Instruction (DI):
Tea cher demons tra tes a DI model tha t gi ves a ca demi c i ns truc on (1a ’s
ma na gea bl e chunks , a l l ows s tudents to perform or di s cus s a ca demi c conten
2v) a nd gi ves rei nforcements wi th s peci fic rel a ted feedba ck (verba l 3v/n
a pprova l or di s a pprova l ). 2 S ll need to improve giving 3’s and 1.a’s.

3. Minimum of talking:
As a res ul t of a Di rect Ins truc on model (DI) tea cher ta l k i s a t a mi ni mum 4 almost never went on too long talking about anything.
words of l es s ”. Off ta s k ta l ki ng i s not evi dent, or us ed a s a tea cher s tra tegy.
4. Effective rehearsal plan: though my pacing was slow, everything got done and went as
Tea cher ha s a wel l thought out, effec ve, devel opmenta l l y s equenced rehea 4 planned
pl a n, tha t i s gui ded a nd i nformed by thei r rehea rs a l gui de. The tea cher va
depa rts from or a da pts the pl a n a s needed. Sca ffol di ng i s evi dent. Tea c adapted based on Dr. V recommenda on, be able to do this
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references pa s t l ea rni ng a nd l es s ons i n current l es s on. The TIMES for ea ch m without help next me.
s ec ons of the rehea rs a l a re cl ea rl y l i s ted on the rehea rs a l pl a n.
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5. Statements of Goals, Rehearsal Threads, and Learning Strategies:
The l es s on begi ns wi th a s ta tement of goa l s (wha t mus i c i s to be rehea
i ncl udi ng mea s ure numbers ) wha t rehea rs a l s threa ds wi l l be the focus o 3 Said what we would be working on. No specific threads.
rehea rs a l , a nd wha t l ea rni ng s tra tegi es wi l l be empl oyed i n order to wor
rehea rs a l threa ds a nd a ccompl i s h the goa l s (vowel s i ngi ng, s ol fege, i n wha t
coun ng, count-s i ngi ng, l oopi ng, etc.) Thi s i nforma on i s on the boa rd.
6. Use of models: Vocal, Aural, kinesthetic, visual: 5 Prac ced to make sure I gave a good model
Tea cher demons tra tes a ppropri a te us e of a ura l , ki nes the c a nd vi s ua l mod
to communi ca te mus i ca l concepts a nd performa nce s tyl e.
3 Posture could always use some work
“” but my smiling and connec on to the music that showed
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visually translated to the choir
7. Vocal Pedagogy and Breathing - Bodywork:
Tea cher devel ops the funda menta l s of brea thi ng a nd voca l produc on thou n/a We were not ge ng into this a this point in the semester
ki nes the c a pproa ch to func on, a nd tea chi ng “how”.
8. Vocal Pedagogy and Breathing - Pedagogy:
Tea cher devel ops the funda menta l s of brea thi ng a nd voca l produc on thoug n/a
a ppropri a te us e of peda gogi ca l expl a na ons a s wel l a s wa tchi ng for/l i s teni
tens i on a nd pres s ure.
9. Tonal Development: n/a
Tea cher devel ops the tone of the choi r on a con nua l ba s i s throughout rehea
through a en on to bodywork, vowel s , pl a cement bl end, a nd l i s teni ng
n/a
i na ppropri a te voca l s ounds or produc on ha bi ts (tens i on, pus hi ng, us i n n/a
s pea ki ng voi ce, yel l i ng, ches ng, i nfluences of popul a r mus i c). n/a
n/a
n/a
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“ T. E. A. R.” - Teacher Effectiveness Assessm ent Rubric p.
Dr. Jo-Anne van der Vat-Chrom y
Jam es Madison University © 2011 – All rights reserved

10. Warm-ups: n/a

2- 5 wa rm-ups a re pres ented i n a 7 mi nute s pa n tha t ha ve: a body work &
brea thi ng component, a n i ni a l des cendi ng pa ern, a n exerci s e for s ol feg
ra nge extens i on exerci s e, a nd a ha rmoni c exerci s e. At l ea s t one wa rm-up i s n/a
i n reference to the ma teri a l to be covered i n the l es s on i ts el f.
11. Sequence of lesson chunks: Lesson divided up into equal chunks. Some chunks could
The l es s on i s s equenced i n ma na gea bl e chunks tha t a ccompl i s h the g
reference the rehea rs a l threa ds a nd us e i n correl a on to the “gol den m
4 have been shorter as each chunk lays some
propor on for the gi ven l ength of the rehea rs a l peri od. There i s a cl groundwork for the other chunks.
s ca ffol di ng a nd s equenci ng pres ent. n/a
n/a
12. Use of solfege

13. Learning Summary:

On a cons i s tent ba s i s , a s umma ry of l ea rni ng i s pres ented i n the l a s t 1.5 mi n
of mos t rehea rs a l s . The l ea rni ng i s s umma ri zed, a nd then s tudents a re i nvi t
n/a
gi ve feedba ck on thei r l ea rni ng a nd the next s teps of the ens embl e.
Criteria: Conducting Behaviors Grade (1- 5) Next behaviors
1. Fluency:
Tea cher moves between rehea rs a l i ns truc ons a nd conduc ng wi th ea s e, flue n/a Did not conduct
a nd a ccura cy. Tea cher ha s s evera l di fferent techni ques for cuei ng i n the c
wi thout coun ng off.
0. Behaviors of Musical Acquisition: Conductor demons tra tes i ncrea s ed
dedi ca on a nd focus on: Li s teni ng, a ura l i ma gery, s core s tudy, i ncrea s ed pra c n/a
me a nd ma s teri ng l onger pi eces .
I. Basic Function Level: Kinesthetic n/a
Conductor demons tra tes a ppropri a te ki nes the c func oni ng, i ncl ud
Spi ne/l engtheni ng, feet grounded/s ta ndi ng pos i on, s l l knees , l owe
n/a
s houl der gi rdl e, hea d/neck a l i gnment, a rms free a nd unl ocked. n/a
n/a
II a. Somatic Level: Facial Affect & Eye Contact
Conductor demons tra tes fa ci a l a ffect a nd expres s i on a ppropri a te to the p
Conductor demons tra tes a ppropri a te eye conta ct, i ncl udi ng: s ca nni ng n/a
ens embl e, checki ng vs . rea di ng mus i c, connec ng to the ens embl e a nd ma k
eye conta ct whi l e cuei ng
II b. Somatic Level: Breath
Conductor performs a nd demons tra tes a n a ccura te a nd s ta bl e openi ng brea th
con nued to brea the for a nd wi th the ens embl e a s a ppropri a te for the pi e n/a
excerpt.
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“ T. E. A. R.” - Teacher Effectiveness Assessm ent Rubric p.
Dr. Jo-Anne van der Vat-Chrom y
Jam es Madison University © 2011 – All rights reserved

III a. Technical Level: Pattern and Tempo

Conductor performs a nd demons tra tes a n a ccura te a nd s ta bl e conduc ng pa
n/a
a ppropri a te for the pi ece or excerpt. Conductor performs a nd demons tra tes a
the a bove cri teri a i n a tempo a ppropri a te to the pi ece or excerpt a s di s cus s n/a
cl a s s . Refer to metronome ma rki ng di s cus s ed i n cl a s s i f a ppropri a te.
n/a
III b. Technical Level: Left Hand Use, Cut-offs & Cues
Conductor performs a nd demons tra tes a ccura te, i ntegra ted a nd cl ea r coordi n
us e of the l e ha nd when needed a s a ppropri a te for the pi ece or exce n/a
Conductor performs a nd demons tra tes a ccura te a nd s ta bl e cut-offs when nee
a s a ppropri a te for the pi ece or excerpt. Conductor performs a nd demons tr
a ccura te a nd s ta bl e cues when needed a s a ppropri a te for the pi ece or excer
IV. Informed Level: Artistry and Interpretation
Conductor demons tra tes ma s tery of the ma teri a l by s howi ng mus i ca l i ty n/a
nua nce i n the ges ture wi th cl ea r a nd preci s e s ha pi ngs , ruba to, a nd deci s i on
cl a ri fy the a ura l i ma ge.

PART I: Comments and Reflections:

I went far over me this week. It’s okay because I got things done, but my plan was supposed to be 7
minutes. I think where I went wrong was that I added me to do extra things to help like give extra pitches
and do mul ple reps on certain sec ons, or break down sec ons into smaller pieces. It’s okay to wind
things back, but there were also places I could have compensated by winding forward, or just doing my
lesson faster.