“ 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

MUS 318 CONDUCTER SELF-ASSESSMENTS Name: Emily Wylie

T.E.A.R. - Teacher Effectiveness Assessment Rubric Date: November 7, 2019
Repertoire: The Angel Gabriel
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 as 5 I used eye contact through the whole ensemble.
much as possible.
2. Non verbal affect; facial affect: 4 I used more facial expressions while teaching,
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is pleasant
and reflective of the mood of the piece.
although many of them didn’t reflect the themes of
the piece.
3. Emotional tone, mood, humor: 5 I had a pleasant presence in front of the ensemble on
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking voice and
style of interaction is empowering, joyful and positive. this day, not nervous at all.
4. Use of speaking voice: 5
The speaking voice is used a mirror of the singing voice. Speaking is not too I spoke the way I would sing to the choir during this
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 choir lesson.
does not talk through the rehearsal.
5. Use of the room: 3 In the ways I could interact with the ensemble
The classroom is arranged in workstation areas. The teacher uses it effectively
throughout the rehearsal, moving around the classroom to engage students in all
physically (without leaving the microphone) I did. I
parts of the room. will use spaces in the future that will allow for more
movement from my part as well as ensembles that
will not require the use of a microphone.
6. Classroom management: 5 I instantly created a learning space by giving
Teacher has many skills that manage behaviors, transitions, and is inspiring to
their students. Teacher manages the energy of the classroom and the students.
academic information before the ensemble opened
their music.
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
0. Prepared Rehearsal Guide: I made the lesson guide and also wrote out
Teacher has prepared a rehearsal guide in advance of teaching a piece, and uses
this guide to inform, pace, and sequence the learning in rehearsals.
information I would need on a separate page from
that rehearsal guide to be extremely clear to myself
in an instant.
1. Pacing: 5 My pacing was suited for the ensemble’s needs for
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
this rehearsal. My tempo was even and useful for the
evident. goals of the rehearsal.
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric
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 (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
approval or disapproval).
3. Minimum of talking:
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.
4. Effective rehearsal plan:
Teacher has a well thought out, effective, developmentally sequenced 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.
7. 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
rehearsal threads and accomplish the goals (vowel singing, solfege, in what
keys, counting, count-singing, looping, etc.) This information is on the board.
8. Use of models: Vocal, Aural, kinesthetic, visual:
Teacher demonstrates appropriate use of aural, kinesthetic and visual modeling
to communicate musical concepts and performance style.
11. Vocal Pedagogy and Breathing - Bodywork:
Teacher develops the fundamentals of breathing and vocal production though a
kinesthetic approach to function, and teaching “how”.
12. Vocal Pedagogy and Breathing - Pedagogy:
Teacher develops the fundamentals of breathing and vocal production though
appropriate use of pedagogical explanations as well as watching for/listening for
tension and pressure.
13. Tonal Development:
Teacher develops the tone of the choir on a continual basis throughout rehearsals
p. 2
4 I was able to give academic information clearly,
giving the ensemble ease in performing academic
information, which I could then give specific related
feedback. I will continue to incorporate ways the
ensemble can discuss academic content with me into
my lesson design.
NA
5 I used an effective rehearsal plan that was developmentally
sequenced
5 I was able to vary, depart, and adapt from my rehearsal guide
as was needed through the rehearsal.
5 Times for each activity chunk of the lesson plan were listed on
the lesson design.
3
Because of the lesson design, the goals, rehearsal threads,
and learning strategies were clear. I did not, however, make
them apparent to the singers before going into the lesson,
which I will do in the future.
4 While my tone and placement models were correct, I could
have used exaggerated shadow consonants for the diction of
this piece.
5 I used strategies for singers to stay on beat
5 I continued to show tall vowel shapes to the
ensemble while they were performing either the
lyrics or the song as a whole.
2 This was not something we were able to address as an
ensemble. Though I tried to give clear demonstration, I would
need to further address this in other classes.
2 I will verbally address the ensembles need for low
“singers’ breaths” in future classrooms while also
listening for the effect of proper breath on the voice.
2 I had the opportunity to mention using correct singing posture
during the lesson and I did not. I will incorporate this into my
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
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).
19. 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.
21. Sequence of lesson chunks:
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.
p. 3
future lesson plans.
4 I modeled correct vowels and used non-verbal cues with my
mouth shape while conducting. I can continue practicing to
give singers exaggerated shadow consonants, although I did
demonstrate them while conducting.
4 I modeled the placement we would be using for this piece, but
did not consistently give cues for placement when needed for
the ensemble.
3 I would give non-verbal cues to sections that were higher on
the balance hierarchy as given in my A.S.C.A.M. but did not
verbally address this. This means I was making conscious
efforts to listen for each voice part as outlined in that same
hierarchy.
4 I was listening to the ensemble’s tone and was able to give
feedback specific to the positive sound and tone they were
creating.
4 I was listening to the ensemble’s tone and volume in a way that
could possibly affect the way in which it was produced.
NA I did not conduct a warm-up
NA
I did not conduct a warm-up
5 My lesson design was broken into activity chunks
with steps for each and those activities accomplished
my goals for this rehearsal.
4 While I did mention aspects of my lesson design to
the singers, I did not mention how it related to the
day’s goals. And while my rehearsal plan did not
incorporate use of the golden mean ratio, it was used
in the lesson for sequencing the order of activity
chunks (including feedback)
5 I scaffolded the rehearsal to incorporate the use of
crisp consonants through the whole piece, despite
not going through the first verse’s diction.
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
24. Use of solfege
25. 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 to
give feedback on their learning and the next steps of the ensemble.
Criteria: Conducting Behaviors
1. Fluency:
Teacher moves between rehearsal instructions and conducting with ease, fluency
and accuracy. Teacher has several different techniques for cueing in the choir,
without counting off.
0. Behaviors of Musical Acquisition: Conductor demonstrates increased
dedication and focus on: Listening, aural imagery, score study, increased
practice time and mastering longer pieces.
I. Basic Function Level: Kinesthetic
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
ensemble, checking vs. reading music, connecting to the ensemble and making
eye contact while cueing
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 piece or
excerpt.
III a. Technical Level: Pattern and Tempo
Conductor performs and demonstrates an accurate and stable conducting pattern
p. 4
NA
There was no instance to use solfege in this rehearsal, as we
were far along in our rehearsal process.
3 Although I wrote a learning summary into my lesson
design, the rehearsal moved very quickly and I did
not have enough time to present it. I will need to
practice the rehearsal design I create to ensure the
pacing leaves space for this vital portion of the
lesson design.
Grade (1- 5) Next behaviors
I was able to move between direct instruction and
conducting easily, giving space for preparation for
5
the introduction, which also led to me not needing to
count the ensemble in.
I was able to give focus to the ensemble regarding
aural imagery and listening to each voice part
through pointing out specific instruction I enjoyed
5
hearing from only some people, giving indication
that other singers would listen and follow my
direction.
5 I lengthened my spine
My feet were grounded where I conducted, and my knees were
5
still
5 My shoulders remained lowered throughout the whole piece.
My head and neck were aligned, and my arms were free and
5
unlocked.
I maintained eye contact throughout the piece and used a facial
5
affect reflecting the emotion of the piece.
My breathing cues were made clear through my face and
5 conducting gestures and I did not raise my shoulders to
indicate breathing to the ensemble.
5 My conducting pattern maintained a steady beat throughout the
changing meters
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 5
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
appropriate for the piece or excerpt. Conductor performs and demonstrates all of I conducted proper tempo for both the piece in context as
the above criteria in a tempo appropriate to the piece or excerpt as discussed in 5
class. Refer to metronome marking discussed in class if appropriate. well as for the ensemble while learning the piece.
There was no need to mention the metronome marking I
NA
would be using in the piece, so I did not use it.
III b. Technical Level: Left Hand Use, Cut-offs & Cues
Conductor performs and demonstrates accurate, integrated and clear coordinated I made use of cut-offs during both instruction time and through
use of the left hand when needed as appropriate for the piece or excerpt.
Conductor performs and demonstrates accurate and stable cut-offs when needed
5 singing through the whole piece. The cues were consistent and
as appropriate for the piece or excerpt. Conductor performs and demonstrates also reflected the emotional level of the piece.
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 able to make use of the ensemble’s attention to give
5
nuance in the gesture with clear and precise shapings, rubato, and decisions that appropriate dynamic variation, as described in my A.S.C.A.M.
clarify the aural image.

PART II: Comments and Reflections:

I was very impressed by my work during this rehearsal. I was able to be clear about my intentions and
planned the rehearsal with the ending goals in mind. I enjoyed the use of starting with academic information.
The tempo I used stayed consistent throughout the rehearsal, meaning my aural image is well defined. I was
able to quickly identify help the singers would need in the moment and react. I think this is due to creating
much smaller chunks for each activity. Something I would like to see myself implement more in future
rehearsals would be to verbally encourage singers to be conscious of their singing posture.