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

1
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved

MUS 318 CONDUCTER SELF-ASSESSMENTS Name: Kathleen Gibson

T.E.A.R. - Teacher Effectiveness Assessment Rubric Date: 11/21/2019
Repertoire: Sing We Now of Christmas
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: Great eye contact! I was looking up more than
Teacher maintains eye contact throughout the rehearsal and is out of the score 5
as much as possible. down and scanning the choir.
2. Non verbal affect; facial affect: 5 Very pleasant facial affect, I was smiling and
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is pleasant
and reflective of the mood of the piece.
showing the “excitement” that is explained in the
piece.
3. Emotional tone, mood, humor: 5 Emotional tone was good, I was showing a joyful
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking voice
and style of interaction is empowering, joyful and positive. speaking tone that reinforced the singers.
4. Use of speaking voice: 5
The speaking voice is used a mirror of the singing voice. Speaking is not too Speaking tone was great, a varying sound kept the
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 attention of the choir throughout the rehearsal.
does not talk through the rehearsal.
5. Use of the room: NA
The classroom is arranged in workstation areas. The teacher uses it effectively
throughout the rehearsal, moving around the classroom to engage students in
all parts of the room.
6. Classroom management: 4 Transition between history and run-through was
Teacher has many skills that manage behaviors, transitions, and is inspiring to
their students. Teacher manages the energy of the classroom and the
good, efficient and not too-wordy but could be
students. clearer on what the next step was.
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
0. Prepared Rehearsal Guide: 5 Rehearsal guide was very clearly shown in the way I
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.
was speaking and giving information, along with the
ability to transition my papers while giving
instruction.
1. Pacing: 5 Pace matched the ability of the choir, with the piece
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
being quick and instruction also matching that pace.
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 2
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
evident.

2. Direct Instruction (DI): 4

Teacher demonstrates a DI model that gives academic instruction (1a’s) in Instruction was good, specific related feedback was
manageable chunks, allows students to perform or discuss academic content okay but could have been more specific to the run
(2p, 2v) and gives reinforcements with specific related feedback (verbal 3v/n-sr through we had.
approval or disapproval).
3. Minimum of talking: 4 Besides the longer history explanation speaking was
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.
good and concise. Think more about clearer word
choice.
4. Effective rehearsal plan: NA
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
4 It was clear that there was a scaffold for this lesson
evident. Teacher references past learning and lessons in current lesson. The plan, the buzzwords added allowed for reference to
TIMES for each major sections of the rehearsal are clearly listed on the previous rehearsals but could have made more
rehearsal plan.
connections.
NA

7. Statements of Goals, Rehearsal Threads, and Learning Strategies: 2

The lesson begins with a statement of goals (what music is to be rehearsed, I didn’t state my rehearsal threads! I just went
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
straight into the historical explanation! Don’t skip
rehearsal threads and accomplish the goals (vowel singing, solfege, in what this!!
keys, counting, count-singing, looping, etc.) This information is on the board.
8. Use of models: Vocal, Aural, kinesthetic, visual: 4 Kinesthetic movements were good, however my tone
Teacher demonstrates appropriate use of aural, kinesthetic and visual
modeling to communicate musical concepts and performance style.
could have been better (sick or not it is important to
show proper tone)
NA
NA
11. Vocal Pedagogy and Breathing - Bodywork: 4 Breaths were shown properly and with enough time,
Teacher develops the fundamentals of breathing and vocal production though
a kinesthetic approach to function, and teaching “how”. though they should be bigger for clarity.
12. Vocal Pedagogy and Breathing - Pedagogy: 3 Not enough attention was paid to the tension and
Teacher develops the fundamentals of breathing and vocal production though
appropriate use of pedagogical explanations as well as watching for/listening
pressure that was audible in the recording.
for tension and pressure. Showing more relaxation in breaths will help.
13. Tonal Development: NA
Teacher develops the tone of the choir on a continual basis throughout
rehearsals through attention to bodywork, vowels, placement blend, and
3 Good vowels were shown in the face while
conducting, but only part of the time. Continue to do
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 3
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
listening for inappropriate vocal sounds or production habits (tension, pushing, this throughout the entire piece.
using the speaking voice, yelling, chesting, influences of popular music).
NA

16. Warm-ups: NA
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
NA
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.
18. Sequence of lesson chunks: 4
The lesson is sequenced in manageable chunks that accomplish the goals, Clear scaffolding was present in this lesson, with us
reference the rehearsal threads and use in correlation to the “golden mean” singing through the entire piece during the golden
proportion for the given length of the rehearsal period. There is a clear mean point of my time allotment.
scaffolding and sequencing present.
19. Use of solfege NA

20. 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
No learning summary was given—not enough time.
Grade (1- 5) Next behaviors
Transitions between information, instruction, and
4 singing was good, though word choice can be
clearer and more succinct.
Visibly showing that I was actively listening, clear
4
that I practiced in front of a mirror.
Stance while conducting was far better than previous
4 times, with a tall, grounded approach. Can continue to
work on less extra movement.
4 Eye contact this time around was great, however,
clearer cues can be made with more than just the
hand.
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 4
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
eye contact while cueing
II b. Somatic Level: Breath
Conductor performs and demonstrates an accurate and stable opening breath Breaths were okay, shown but definitely need to be
and continued to breathe for and with the ensemble as appropriate for the 3
piece or excerpt. deeper in order to be clear.

III a. Technical Level: Pattern and Tempo

Conductor performs and demonstrates an accurate and stable conducting Conducting pattern was clearer than last time,
pattern appropriate for the piece or excerpt. Conductor performs and
demonstrates all of the above criteria in a tempo appropriate to the piece or
4 however there can still be less movement in the
excerpt as discussed in class. Refer to metronome marking discussed in class if wrist/shoulder. Good tempo that stayed consistent.
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 Left hand use was great! Entrance cues were shown
excerpt. Conductor performs and demonstrates accurate and stable cut-offs 4
when needed as appropriate for the piece or excerpt. Conductor performs and clearly, but cutoffs still need work.
demonstrates accurate and stable cues when needed as appropriate for the
piece or excerpt.
IV. Informed Level: Artistry and Interpretation It was clear that I had an aural image of how I wanted
Conductor demonstrates mastery of the material by showing musicality and
nuance in the gesture with clear and precise shapings, rubato, and decisions
4 the phrases to sound through shaping. More variation
that clarify the aural image. in size can help make this more drastic.

PART II: Comments and Reflections:

This was my best rehearsal with the choir. My cues were a lot clearer, it was visible that I had a clear aural image of the piece and was showing
cues to match that. I can continue to show breaths better, breathing deeper to show a proper singing breath. Being out of my music was the
biggest step I took, as I tend to get nervous and look down because I am second-guessing my choices. I can see the advancements I made
overall as a conductor in this rehearsal and now I will be even better prepared for the final performance because I know what areas I still need
to work on.