Lydia Paxton

MUSIC 512
Dr. Phillip Payne
December 6, 2020

Assessment Portfolio

Annotated List:

1. Peer Assessment
Definition/Rationale: Peer Assessments are rubrics or worksheets that allow students to give
and receive feedback to one another on their performances. Peer Assessments are useful
forms of assessment because they help students focus on the musical elements the teacher is
trying to emphasize in the unit, and they help refine the students’ ability to give constructive and
specific feedback based on their evaluation of performances. Peer assessment is useful in the
music classroom because it allows students to get feedback from someone in a different
position in the ensemble than the instructor. Fellow students recognize the same struggles and
successes and can recognize those moments in evaluating their peers’ performances. Peer
assessment is also beneficial because students receiving constructive feedback from their
peers can be seen as ‘friends helping friends’, rather than feeling the assessor is only focusing
on negative or unsuccessful aspects of performance.

2. Sight-Singing Test
Definition/Rationale: A Sight-Singing Test is a way for the teacher to assess a student’s ability to
sight read a piece of music they have not sung before given thirty seconds to review and
practice. Students are given a short melody, between four to eight measures, and are asked to
sing as accurately as possible without practice. Students establish tonality and begin taking a
minute or less to look at the melody, identify trouble spots, and practice briefly before singing
through the melody. Using data collected from all students, cater future sight-singing tests to
challenge students based on intervals or rhythmic figures they are all struggling with on the
whole. Sight-singing tests and warmups are useful in the music classroom because they help
students develop music literacy and sight-reading skills that are essential to progressing in
ensemble literature and developing musicianship. They also help the teacher recognize student
skills in their ability to accurately perform notes and rhythms by sight, as well as students’ ability
to recognize more difficult passages and their thought process for figuring them out during the
practice period.

3. Recording Assignments
Definition/Rationale: A Recording Assignment is an audio or a video recording in which students
record themselves singing a passage or piece of music. Sections of music to be recorded will be
assigned in class as homework. Students will listen to a practice track or use a metronome with
headphones as specified, to record a section of music a capella. After recording several takes,
students will listen and select the best recording and submit via a private youtube link to my
email or classroom management system. In the submission comments, students are required to
submit a small reflection about sections they struggled with, as well as what they can improve
upon after listening to their recording. Recording assignments are useful forms of assessment
because they allow the teacher to determine student progress and practice, and how well they
can apply what they are being taught in the classroom on their own. They also provide the
teacher with more information about what issues are coming up in the literature to shape future
lessons.

4. Self-Assessment
Definition/Rationale:​ ​A Self-Assessment is a rubric or worksheet in which students practice
evaluating their own performance and giving specific feedback and strategies for improvement.
Students will focus on overall performance as well as specific elements of music such as diction,
musicality and expression, balance, or other elements specified in the rubric or worksheet.
Students will be required to answer self-assessment reflection questions following the
completion of each of their recording assignments, and students will use a self-assessment
rubric to evaluate their individual contribution in their recorded quartet performance.
Self-assessments are useful forms of assessment because they allow students opportunities to
express concerns, celebrate their achievements, and develop their ability to refine feedback and
give specific directions for how to improve. Self-assessments allow the teacher to see how the
students view themselves and their performance, as well as how well they are using and
integrating the concepts taught in class into their performance practice.

5. Exit Tickets
Definition/Rationale: An exit ticket is a set of questions for students to reflect on and write about
at the end of class. This form of assessment is useful in the music classroom because it does
not take much time away from a day with lots of material to cover, but it is extremely effective in
day-to-day assessment of student learning. Exit tickets can be used to help students reflect on
the concepts they focused on in class to help them remember the next day. Exit tickets can also
be used to have students make a plan for practice, create a possible warmup that helps solve
an issue from class, articulate how they can improve by the next class period, or ask a question
they still have. Exit tickets are extremely versatile forms of assessment, so there are many
routes to take. Students are more likely to remember and reflect about what they learned if they
think and write about what they internalized. Teachers can use exit tickets to help see if their
delivery of instruction is effective and if the students are understanding what they are being
taught. Exit tickets allow the teacher to see inside the students’ perspective, which is extremely
beneficial to making sure concepts you want to focus on and teach are being absorbed by the
students.

6. Quartet Singing
Definition/Rationale:​ ​Quartet Singing is a performance-based assessment in which students
prepare a section of a piece of music in groups of four with one person from each section
singing their part. Near the time of performance, students will display their ability to hold their
part alone with the other parts singing simultaneously, particularly in polyphonic, rhythmic, or
melismatic sections of music. Each quartet’s performance will be recorded and evaluated by the
teacher and each student will complete a self-assessment as well. This form of assessment is
useful because it forces students to be sure they practice and know their part of the music very
well. Students cannot rely on listening to stronger singers or musicians from their section when
they are the only member singing. Quartet singing forces individual musicians to focus, listen,
and blend well-- skills that are all essential to the ensemble as a whole. Quartet singing also
improves performance skills and prepares students for nerves and performance anxiety in a
supportive classroom environment. Students develop confidence as they must sing loud enough
for their part to come through the texture of the quartet. Quartet singing provides the teacher
with an opportunity to hear students individually to determine individual ensemble singing skills,
as well as how students handle the pressure of performing in a small group in front of their
peers. In difficult passages of music, this form of assessment helps motivate students to
practice and perfect them, which will improve the ensemble as a whole. Hearing smaller
sections of students allows the teacher to see who is struggling and who is improving, so they
can help those who need it.

7. In-Class Discussions
Definition/Rationale: In-Class Discussions is one informal form of assessment in which students
discuss aspects of performance and musical decision making. Discussions allow students to
engage more deeply with the material they are studying and helps students feel they are in
control of their ensemble. Through discussions in class, students will share ideas in regards to
dynamics, interpretation, timing, breathing, style and articulation, diction, text expression,
balance and blend, pulse, historical and cultural context, and more. As students discuss how
they want to present music for performance, students take ownership of the music they perform
by making it unique to the ensemble. When students are allowed to make decisions about the
music, they will be more excited about actively engaging in class. Students develop the ability to
listen to their peers, articulate their thoughts and ideas, and practice using discussion to
improve the overall performance. Discussion allows students to share different perspectives that
can influence the way the entire ensemble thinks and feels about a piece of music.

8. Portfolios
Definition/Rationale: Portfolios are a collection of student work that is created throughout the
course of the year, semester, or quarter. Students are expected to continuously improve as they
receive instruction and continue practicing and applying the concepts they are learning. By
collecting all student work, students are held accountable to turn in their assignments and the
teacher can keep evidence of student progress throughout the year. Portfolios are a useful form
of assessment because they document student progress over time. Portfolios are comprised of
recording assignments, sight-singing tests, self-reflections, exit tickets, and other student work.
At the end of the year, portfolios are more beneficial to the teacher than the student, because it
allows the teacher to reflect on what assignments helped assess the concept you wanted
students to focus on, as well as how they can improve the next year to help students achieve
higher more quickly. As a teacher, the goal is to evolve and improve delivery of instruction so it
is as effective as possible. Portfolios can also provide information to help determine ensemble
placement in the upcoming school year based on assessment of student skill level and ability,
as well as ability to implement concepts taught in class and improve continuously.
Implementation:
1. Peer Assessment
Protocol: Each quarter, leading up to the concert, students will complete one peer assessment
in which they evaluate the performance of their peers in quartet performances, sectional
show-offs, or other small, informal class performances. Students will fill out the Peer
Assessment worksheet or rubric as it pertains to each performance, giving constructive
feedback to their peers about what they can improve upon and what went well.
Reliability: Each student will fill out the same rubric or worksheet-- whichever format works best
for the activity-- for each peer assessed performance. Each student will be randomly assigned
to assess one other student’s performance to ensure students receive a variety of honest peer
feedback from different sources throughout the year.
Validity: The assessment criteria or worksheet questions should reflect the goals of the activity
or performance. Students will be aware of the guidelines they need to meet in performance, and
will be asked to fill out the peer rubric honestly and accurately based on what they hear.
Students will be aware of what to look and listen for in performance to align with the goal of
performance and assessment. To ensure validity, all students should know they will be giving
and receiving peer assessments prior to the performance, as well as the criteria they will be
assessed on. The teacher should walk through an example of a fully completed peer rubric with
students using an example.
Analysis/Adjustments: The teacher should keep all performances and peer rubrics or
worksheets associated with them. Each quarter, the teacher should review each student’s peer
assessment to check for completion and thought clarity. Students should continuously improve
in their ability to give specific, detailed, in-depth feedback using specific measure numbers,
musical terms they have learned, and addressing concepts of focus. After using some peer
rubrics and some worksheets, adjustments in the future can be made to increase clarity of the
objectives or criteria to be met. If one format seems to get more clear feedback than the other,
use whichever format is most effective for student learning as well as allows students to
elaborate more deeply on their observations.

2. Sight-Singing Test
Protocol: Each day, the class will participate in daily sight reading warmups in which they will be
shown four measures and given one minute to practice. As students progress, the difficulty of
the sight reading examples increase and the time allotted for practice gradually decreases to
thirty seconds. Every other week, students will be tested individually. Students will enter a room
alone, press record on my iPad, start the timer for thirty seconds, flip over the sheet, and begin
studying the example. When the timer goes off, the student may play the starting pitch only and
then, using the metronome at 65 bpm, sing the exercise using solfege. Stop the recording. All
recordings will be evaluated and students will receive scores and feedback based on their
sight-singing test recording using the scoring rubric.
Reliability: The teacher will utilize the same rubric, the same sight reading excerpt, and allot the
same amount of practice time for each student for each of their sight-singing tests. All students
will be analyzed and assessed based on the same criteria, and they will regularly be tested to
show improvement over time. The teacher will compare results between all students each test,
and will track individual and collective student progress by comparing the results of each test.
Validity: Students will be aware of the process for sight-singing tests as well as how they will be
scored on the rubric. The rubric should assess the same criteria they are being asked to focus
on in performance, and sight-singing examples should be related to content they are learning in
literature. Tests will be held every other Friday and scores will be given back to students the
following Monday. Individual and class discussions are held regularly regarding struggles and
success with sight singing to determine how best to cater to the student’s learning needs.
Analysis/Adjustments: The students should discuss their progress with the teacher periodically.
Students need to understand the importance of sight-singing skills and be willing to discuss how
they feel they are progressing. If student discussion and scores of tests indicate the example is
too difficult or too simple, adjust the difficulty level of the test to fit the needs of your students.

3. Recording Assignments
Protocol: Students will be notified in class of upcoming recording assignments with at least one
week to prepare and submit the assignment. Students will be assigned a section or piece of
music to perform a capella, using a metronome or practice track with earbuds to maintain tempo
and tonality. Students will perform the assigned section given certain criteria (sing on solfege,
sing on words, etc.), while recording themselves. They will upload their recordings to youtube
and submit unlisted youtube links for me to assess. In the submission comments, students will
answer two short reflection questions outlining sections they struggled with as well as ways to
improve based on listening to their recordings. Students will be given a grade of complete or
incomplete, and the teacher will make comments on the student submissions to provide
feedback on successful moments and ways to improve.
Reliability: Students will always be given the same section of music to record in the same way
(solfege/words, audio/video, etc.). Students will be required to answer the same reflection
questions each time they submit a recording assignment to ensure students are proof-listening
to their recordings prior to submitting to be sure they have recorded their best work. Students
will always be given at least one week to submit their assignments, and will be given specific
criteria for recording at that time.
Validity: The teacher should clearly outline the directions for each recording assignment, and
students should get used to listening to their recordings to analyze their own application of
concepts taught in class. The teacher should clearly explain how the reflection questions should
be done in relation to listening to their recording submission, and show an example if students
are lacking clarity of expectations. The teacher should read all reflections to gauge student
competency and grasp of concepts being taught and emphasized through musical selections.
Analysis/Adjustments: If students are not responding to their own performance in a way that
helps them practice concepts you want them to focus on or if they are not following through,
consider having students reflect using a discussion board or through in-class discussions with
other members of their section. Reflection questions allow students to address whatever they
feel is most important, so it is important the teacher understands how the students are feeling
about the sections they are being asked to record. If students need more guidance, establish
more specific reflection questions or criteria to listen for so students can talk more specifically
about concepts they should be focusing and improving upon.
 4. Self-Assessment
Protocol: Students will utilize a minimum of four self-assessment reflections to evaluate their
individual performance. Given a rubric and/or set of questions, students will watch three
recordings of their individual video recordings submitted two weeks prior to formal performance.
Using the rubric and/or answering the questions, students will watch and listen to the recording
and evaluate their performance using the criteria provided in the self-assessment.
Reliability: Students will all be given the same self-assessment to be completed, and they will
each evaluate the same three recordings of themselves. Each self-assessment will be based on
criteria that caters to the individual performance aspects of the pieces studied each quarter.
Validity: The teacher will be sure students are made aware of how the self-assessment
reflection should be completed by walking through a personal example. The self-assessment
questions and rubric criteria will be directly related to the music content being analyzed.
Students will be encouraged to use specific terminology and address strategies learned in class
to address reflection questions.
Analysis/Adjustments: The teacher should utilize these self-reflections and their final video
submissions to determine what needs to be polished and perfected prior to formal performance.
Address performance presence, facial expressions, vowel shape, diction, dynamics and
articulation, as outlined by the students’ reflections to improve performance based on what the
students notice and observe in their individual recordings. Self-Assessments are also used to
determine individual students’ engagement and ability to absorb, apply, and recognize concepts
they learn in class. Adjust self-assessments accordingly based on what format allows students
to express their thoughts more clearly.

5. Exit Tickets
Protocol: At the end of class instruction, students will be asked to fill out a note card that asks
students to reflect, create, plan, or think about what they have learned in some way. Exit tickets
will be given at the end of class with prompts for the students to answer based on what they
learned that day in class. Students will be required to turn in exit tickets before they are allowed
to leave the classroom.
Reliability: Each student will answer the same prompts and will be given the same amount of
time to respond to the prompts.
Validity: Prompts are usually left up to the students, and are usually opinion-based. There is no
right or wrong answer, students must complete the prompts using their personal experience,
skills, and knowledge.
Analysis/Adjustments: The teacher will collect each of the exit tickets at the end of each day.
Reading exit tickets helps the teacher gauge student learning of the concepts you were hoping
they would grasp. Exit tickets will guide instruction for the next day by providing the teacher with
the information they need to understand if students need to understand something more or
differently. Analyzing student responses in regards to the given prompts can help the teacher
design warmups and activities that will be most beneficial for the students. Adjustments can be
made to glean more specific responses to questions based on what is most important to focus
on. If students are lacking confidence, adjust questions to focus on things that are going well, or
if students are lacking creativity, create exit tickets that force students to think critically and
problem solve.

6. Quartet Singing
Protocol: In quartet singing, students are given a section of music to prepare for class without
knowing they will be singing in a quartet. Students come to class prepared to sing the section
and students are told they will be singing one on a part. One student from each section
performs their part in a quartet with the other parts. Students participate in peer-assessment in
this project, and the teacher observes and takes notes on each student’s individual performance
for personal information. After each student has performed in a quartet, the teacher will address
the whole class regarding successes and things to improve. The class will discuss how they felt
about the activity as well as how they can improve the section of music as a class.
Reliability: Students will be given one class period prior to quartet performances to prepare the
excerpt. All students will be asked to perform the same section of music, and all quartets will
only have one singer per part.
Validity: Quartet singing will be directly related to learning objectives. The section of music
chosen should be one that is especially difficult, rhythmic, melismatic, or polyphonic to help
students focus on ensemble unity and blend. The section of literature will be the same for each
quartet group.
Analysis/Adjustments: Using peer-assessments and observation notes, the teacher will analyze
individual student performance as well as overall ensemble. The teacher will have specific
criteria to listen for in each quartet performance, and through class discussion, reflect on what
students learned through the process of singing alone on their part, as well as how they can
improve as a choir. This process can be adjusted in many ways based on the individual needs
of the students in my class. I may change quartets to octets to make students feel a little more
secure if students are not confident enough to be heard.

7. In-Class Discussions
Protocol: In-Class Discussions will be held directly in the middle of instruction on a daily or
almost daily basis, especially as students near performance. Students will be invited to discuss
and make musical decisions regarding performance practice based on their ideas. As we
rehearse, we will spend time discussing timing, interpretation, dynamics, and all other aspects
of performance. Students will be expected to share their own ideas, respectfully agree or
disagree with their colleagues, and make executive decisions regarding how they want to make
the music unique to their ensemble.
Reliability: In-Class Discussions should be recorded or the teacher should take notes as
students share ideas. The teacher should facilitate discussion in a way that allows students to
present their ideas in a non-invasive way. Discussions are student-led, and the teacher will take
note of different ideas and facilitate voting or deciding as a class which musical elements to
include in performance.
Validity: In-Class Discussions should be sparked by disagreements or differing opinions as to
the way a piece of music should be performed or thoughts we should have while singing. In
rehearsal, students will be guided through discussion that is directly related to the learning
objectives for the class. Students need to stay on topic, but discussions are largely based on
student opinions and personal ideas, so there is no right or wrong way to respond.
Analysis/Adjustments: Throughout the discussions, the teacher should take note of student
contributions to the discussion. Students who do not contribute to in-class discussions should
be encouraged, and the teacher should call on individuals who may not feel as comfortable
sharing with the class to ensure all students share ideas with each other. Be sure not to let two
or three students dominate the conversation. The teacher should also take note of
thoughtfulness and depth in student responses to discussion prompts. Adjustments can be
made if it allows students to feel a greater level of comfort in sharing with a smaller group of
students. I could break students into groups first, then I can ask a representative to share ideas
the group came up with. The teacher should attempt to guide the discussion in a way that
focuses on the concepts you are hoping the students will recognize.

8. Portfolios
Protocol: Students will create a portfolio at the end of the year that contains all of their work in
the class including recording assignments, sight-singing tests, self-reflections, exit tickets, and
other student work to demonstrate their progress throughout the year. They will upload all of
their online work to a digital folder, and hard copy assignments are kept in a file folder.
Reliability: Each student will be required to add the same projects and assignments to their
individual portfolios. They will be given a checklist at the end of the year to ensure they are
including every assignment.
Validity: Students will know about the portfolio assignment at the beginning of the year, and will
be expected to compile all graded assignments to their portfolios. They will be given a specific
checklist of all the assignments they need to include, and will be expected to turn in those
assignments throughout the year. The portfolios should show student growth in each of the
assessment types given to show evidence of student progress and learning.
Analysis/Adjustments: The portfolio serves as a way for the teacher to analyze student progress
as a whole over the course of the entire year. Students should have improved scores and
feedback in every assignment from the beginning of the year to the end. If there is not evidence
of student learning, assessments need to be adjusted or thrown out, as they are not measuring
the objectives my students need to meet. Each year, graded assignments should be reviewed to
ensure they are useful forms of assessment that show relevance to curriculum and program
goals.
Exemplars:
1. Peer Assessment

Quartet Performance Peer Assessment

Your Name: Performer Name:

1 2 3 Additional
Comments:

Stage Presence The student The student The student

does not sing occasionally consistently
with sings loud sings loud
confidence, enough to be enough to be
lacks breath heard, has heard, sings
support, and decent breath with
cannot be support and confidence and
heard. some good breath
confidence in support, and
singing, but uses
does not move movement to
with the group. maintain
internal pulse
with the
quartet.

Accuracy The student The student The student

sings most of sings accurate consistently
the notes and notes and sings notes
rhythms rhythms most and rhythms
inaccurately, of the time, but with accuracy,
has little to no the student and is clearly
knowledge of misses three or familiar with
their part in more pitches or their voice part.
general. rhythms in the It is evident the
section. It is student
unclear prepared the
whether or not section of
the student music prior to
spent extra performance.
time preparing.

Ensemble The student The student The student

fails to attempts to uses
maintain any maintain pulse, movement or
sense of pulse but struggles gestures to
with the other to keep the maintain the
members of the same pulse pulse, makes
quartet, sings with the rest of eye contact
 with complete the ensemble, with other
independence or the student members of the
from the rest of gets lost in the ensemble, and
the ensemble, music, but the ensemble
or cannot sing manages to sounds as if
their part alone find a spot to they are being
with the other come back in. conducted.
voice parts.

Musicality The student The student The student

sings with little occasionally sings with
to no sings with musicality, full
musicality, elements of tone,
breathy tone, musicality, has appropriate
no dynamics, good tone, and style,
articulation, or occasionally dynamics, and
style, and/or sings with articulation,
does not appropriate sings with
enunciate style, good vowels
words. dynamics, and and clear
articulation. consonants,
The student and visually
looks bored or looks happy to
sings with be singing.
unclear
consonants
and vowels.

2. Sight-Singing Test

“When you enter the choir library, you will see my iPad set up on a music stand next to a sheet
of paper. There’s a timer and a keyboard on the desk in front of you. When you enter the room,
begin by pushing the record button. Then, flip over the sheet of paper to reveal the sight-singing
test you will be asked to sing. Only look at the example labeled with your voice part. The top
excerpt is written to be comfortably sung by sopranos and altos, and the excerpt at the bottom
of the page is written to be sung by tenors and basses. Once you have flipped over the page,
start the timer for 30 seconds, play your starting pitch on the piano, (labeled with a star sticker)
and begin studying and practicing as much as you can. Be sure to look at the key signature,
establish do, and practice singing the example on solfege until the timer goes off. When the time
runs out, play only the starting pitch once more, and sing the example without stopping. When
you have finished singing the excerpt, stop the recording, and cover the sight-singing excerpt for
the next student.”

S/A example:
 3. Recording Assignments

Assignment: Record yourself singing on SOLFEGE. You will record El Grillo at 100 bpm,
beating the half note. Use the practice tracks provided with the assignment to practice and
record your assignment with earbuds. Record the entire piece, including repeats. You should
record multiple takes to be certain you are submitting your best work with little to no mistakes.
Once you feel you have recorded a take you are satisfied with, listen and answer the two
reflection questions you will be submitting along with your recording. Submit your audio
recording as an unlisted youtube link for me to grade. In the submission comments, answer the
following reflection questions.
● What specific sections of the music did you struggle with as you practiced in preparation
for your recording assignment? Give specific measure numbers and explain what was
difficult.
● Based on listening to your final recording, what is one way you can improve upon your
current performance of the piece before the next time we rehearse together?

4. Self-Assessment

Self-Assessment Reflection Assignment: Watch and listen to three memorized video

submissions of your choice (El Grillo, Lunar Lullaby, Great God Almighty, or Luk Luk Lumbu).
As you listen and watch each of your recordings, fill out the reflection questions based on your
observations and thoughts.

Video 1:
● What do you notice about your facial expressions?
● What do you notice about your diction and enunciation of consonants and pure vowels?
● What do you notice about musicality, expression, and dynamics?
● Based on this recording, what is one way in which you have or will improve by the time
of the performance?
● Based on all your observations, what is one thing you want the choir to think about when
we perform this piece?

Video 2:
● What do you notice about your facial expressions?
● What do you notice about your diction and enunciation of consonants and pure vowels?
● What do you notice about musicality, expression, and dynamics?
 ● Based on this recording, what is one way in which you have or will improve by the time
of the performance?
● Based on all your observations, what is one thing you want the choir to think about when
we perform this piece?

Video 3:
● What do you notice about your facial expressions?
● What do you notice about your diction and enunciation of consonants and pure vowels?
● What do you notice about musicality, expression, and dynamics?
● Based on this recording, what is one way in which you have or will improve by the time
of the performance?
● Based on all your observations, what is one thing you want the choir to think about when
we perform this piece?

5. Exit Tickets

Exit Ticket Assignment: Before you are allowed to leave class today, respond to the following
prompts on the note card in front of you as your exit ticket for the day.

Example Prompts:
● What is one thing you learned in class today that helped you to be a better member of
society?
● What is one practice strategy you will use to improve on El Grillo before the next
rehearsal?
● Write down the measure numbers of three sections in Luk Luk Lumbu you struggled with
in rehearsal.
● Create a warm-up we can use tomorrow that helps us focus on articulation.

6. Quartet Singing

“Before class tomorrow, you should all review and practice the second page of El Grillo.”
“Today we will be singing El Grillo on text in quartet groups with one student on each part.
Everyone get out your music, and choose one person from your section to represent your part in
the quartet. Each student will get a chance to sing in a quartet, and we will be completing peer
assessments as well. I will be taking notes on how well you all have learned your parts, how
musical you sound, and how well you stay together as a quartet ensemble without a director.
After each group has performed and everyone has both performed and filled out the assigned
peer assessment, we will have a discussion about the experience and what we can learn from
it. Each group will start on the pickups to measure 22 and you’ll sing until the end of the page
with the metronome beating 100 bpm, 2 clicks per measure.”
 7. In-Class Discussions

“Let’s have a discussion as a class about how we can make Lunar Lullaby unique to our choir.”
Startup/Follow-up questions: Does anyone have an idea about what this piece is about? What
experiences does singing this piece bring back to your mind? What feelings arise in various
sections of the music? What tone words or adjectives can help us capture the feeling of this
section of music? How long should we hold this fermata? How long should we pause here?
What is the climax of the piece and how can we make it exciting?

Students can also pose questions to the class to add to the variety of discussion. Students
should write suggestions in their music and we should test out student suggestions to see what
the majority of the ensemble prefers. Discussion is an essential part of engaging students in the
rehearsal process.

8. Portfolios

Portfolio Assignment: Your task will be to create a portfolio that contains all of your graded work
in the class, including recording assignments, sight-singing tests, self-reflections, exit tickets,
and any other additional makeup work or extra credit projects completed to demonstrate your
progress throughout the year. You will upload all of your online work to a digital folder, and hard
copy assignments will be turned into your class filing box. Use the checklist to be sure you have
all of the required pieces of your portfolio turned in.
● Exit tickets
● Recording assignments
● Teacher rubrics/performance comments
● Self-assessment video reflections
● Extra credit/Makeup work
● Sight-singing tests