“T. E. A. R.

” - Teacher Effectiveness Assessment Rubric

Dr. Jo-Anne van der Vat-Chromy
​ ​2011​ ​– ​All rights reserved
James Madison University ©
Revised 10-2020

JMU Practicum Observation: Name: Abby Wiegand

T.E.A.R. - Teacher Effectiveness Assessment Rubric #2 Date:
Ensemble & Repertoire: High School Choir, The Star-Spangled Banner
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​: 4 I think this time I managed to keep slightly less eye contact,
Teacher maintains eye contact throughout the rehearsal and is out of the
score as much as possible​.
partially because I had the piano present and often when I
was singing I relied on the piano for support.
2. Non-verbal affect; facial affect: 5 If I was feeling anxious, I don‘t feel it came across, and
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is
pleasant and reflective of the mood of the piece.
absolutely no judgement.
3. Emotional tone, mood, humor: 5 The dog really loosened me up.
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking
voice and style of interaction is empowering, joyful and positive.
4. Use of speaking voice: 3 STILL dealing with the vocal fry! Old habits die HARD.
The speaking voice is used a mirror of the singing voice. Speaking is not
too 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 does not talk through the rehearsal.
5. Use of the room: 5? Using my piano helped a lot, as did the computer slides I
The classroom/teaching space is arranged in workstation areas. The
teacher uses it effectively throughout the rehearsal, moving around the
had ready! The materials were ready, helping to make up
classroom to engage students in all parts of the room. All necessary for the actual classroom space.
instruments, manipulatives, materials, and equipment are ready and
utilized with efficiency and competency.
6. Classroom management: 4 I helped them stay engaged by enlisting students for games
Teacher has many skills that manage behaviors, ​transitions, ​and is and asking them to answer questions!
inspiring to their students. Teacher manages the energy of the classroom
and the students.
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
1. Prepared Rehearsal Guide: 5 The visual helped so much! Everything culminated nicely in
Teacher has prepared a rehearsal guide in advance of teaching a piece,
and uses this guide to inform, pace, and sequence the learning in
the run-through of the first sixteen measures.
rehearsals.
 “T. E. A. R.” - Teacher Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
​ ​2011​ ​– ​All rights reserved
James Madison University ©
Revised 10-2020
2. Pacing: 5 We fulfilled our rehearsal goals without rushing or stalling!
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 evident.
3. Direct Instruction (DI): 4 Good planned affirmations, but I should have put more
Teacher demonstrates a DI model that gives academic instruction (1a’s) in
manageable chunks, allows students to perform or discuss academic
thought into the transitions.
content (2p, 2v) and gives reinforcements with specific related feedback
(verbal 3v/n-sr approval or disapproval).
4. Minimum of talking: 3 TALK LESS SING MORE
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.
5. Effective rehearsal plan: 5 Great use of zones of proximal development!
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 I referenced our tone set adventures from the previous
evident. Teacher references past learning and lessons in current lesson. week.
The TIMES for each major sections of the rehearsal are clearly listed on the I was well-prepared and well-practiced.
rehearsal plan. It is evident that the teacher has practiced the
implementation of their plan.
5A. Effective rehearsal plan: 4 Nice use of solfege, but could have been less piano to develop
​Kodály Integrations
aural skills!

6. Statements of Goals, Rehearsal Threads, and Learning Strategies: 3 Goals were only briefly stated at the beginning but were
The lesson begins with a statement of goals (what music is to be
rehearsed, including measure numbers) what rehearsals threads will be
wrapped up at the end.
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 or has a visual component.
6A. Statements of Goals, Rehearsal Threads, and Learning Strategies: 4 I gave clear instructions on when to use hand signs, when
​Kodály Integrations:
to sing on words, etc.

7. Use of models: Vocal, aural, kinesthetic, visual: 5 MUCH better tone and vocal modeling, aided by piano.
Teacher demonstrates appropriate use of aural, kinesthetic and visual
modeling to communicate musical concepts and performance style.
4 When I made mistakes with my breathing, I explained and
corrected them.

7A. Use of models: Vocal, aural, kinesthetic, visual: 5 Great utilization of solfege symbols and transfers to letter
​Kodály Integrations:
names.
 “T. E. A. R.” - Teacher Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
​ ​2011​ ​– ​All rights reserved
James Madison University ©
Revised 10-2020
8. Vocal Pedagogy and Breathing - Bodywork: n/a
Teacher develops the fundamentals of breathing and vocal production
though a kinesthetic approach to function, and teaching “how”.

9. Vocal Pedagogy and Breathing - Pedagogy: n/a

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.
10. Tonal Development: n/a
Teacher develops the tone of the choir on a continual basis throughout
rehearsals through attention to bodywork, vowels, placement blend, and
listening for inappropriate vocal sounds or production habits (tension,
pushing, using the speaking voice, yelling, incorrect belting technique).

11. Warm-ups: 4 The warm-up could have been more thorough, but we were
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
working with a limited time frame.
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.
12. Sequence of lesson chunks: 5 Very well sequenced, moved from chunk to chunk in a way
The lesson is sequenced ​in manageable chunks that accomplish the goals,
reference the rehearsal threads and use in correlation to the “golden
that made sense.
mean” proportion for the given length of the rehearsal period. There is a
clear scaffolding and sequencing present.
13. Use of solfege: Tone, rhythm, harmonic sets, solfege parts, part 4 Good! It would have been nice to layer parts as we went in a
work: more clear manner.
Kodály Integrations
14. Learning Summary: Learning was summarized both with the final activity and
On a consistent basis, a summary of learning is presented in the last
several minutes of most rehearsals. The learning is summarized, and then
verbally at the end.
students are invited to give feedback on their learning and the next steps
of the ensemble.
Criteria: Conducting Behaviors Grade (1- 5) Next behaviors
1. Fluency: n/a
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.
1. Behaviors of Musical Acquisition: 5 I rehearsed the parts and led the students through them.
Conductor demonstrates increased dedication and focus on: Listening,
aural imagery, score study, increased practice time, and mastering longer
pieces.
2. Basic Function Level: Kinesthetic: n/a
 “T. E. A. R.” - Teacher Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
​ ​2011​ ​– ​All rights reserved
James Madison University ©
Revised 10-2020
Conductor demonstrates appropriate kinesthetic functioning, including: n/a
Spine/lengthening, feet grounded/standing position, still knees, lowered
shoulder girdle, head/neck alignment, arms free and unlocked. Conductor n/a
is aware of the C1 vertebrae and the alignment of the head/skull to the
neck and spine (Alexander Technique).
2A. Somatic Level: Facial Affect & Eye Contact: n/a
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.
2B. Somatic Level: Breath: 3 Could be better at phrasing and staying on the breath when
Conductor performs and demonstrates an accurate and stable opening
breath and continued to breathe for and with the ensemble as
I sing.
appropriate for the piece or excerpt.

3A. Technical Level: Pattern and Tempo: n/a

Conductor performs and demonstrates an accurate and stable conducting
pattern appropriate for the piece or excerpt. Conductor performs and n/a
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 n/a
class if appropriate.
3B. Technical Level: Left Hand Use, Cut-offs & Cues: n/a
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 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.
4. Informed Level: Artistry and Interpretation: n/a
Conductor demonstrates mastery of the material by showing musicality
and
nuance in the gesture with clear and precise shapings, rubato, and
decisions
that clarify, represent, and express the aural image.

PART II: FINAL COMMENTS & REFLECTION:

 “T. E. A. R.” - Teacher Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
​ ​2011​ ​– ​All rights reserved
James Madison University ©
Revised 10-2020

I felt much better about my second practicum lesson than I did about my first. The
combination of my PowerPoint and my plan to engage the students by encouraging
participation made all the difference in the world. I felt more comfortable in front of the
students, and as a result, they felt more comfortable singing and being led by me. I don‘t
want to use the piano too much or hide behind it, but I did feel more at home with the
keys ready and waiting for me whenever I needed them. If I strayed from the rehearsal
design, the PowerPoint was there to get me back on track. However, I still had a difficult
time conducting assessment of the class as a whole. The screen sharing technology made
it difficult for me to see everyone‘s faces, and it was difficult to view the chat while
teaching as well, so I may have missed a question or a comment that could have helped
someone learn. Based on the students‘ reported takeaways at the end of class, however,
they felt more confident singing their part in the national anthem and they were satisfied
with the pace at which information was distributed.