“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 # 3 Date: 11/18/20

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​:
Teacher maintains eye contact throughout the rehearsal and is out of the
score as much as possible​.
2. Non-verbal affect; facial affect: 5 I believe I have a comforting and approachable presence
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is
pleasant and reflective of the mood of the piece.
that allows people to do their best.
3. Emotional tone, mood, humor: 4 I want to be more intentional about displaying helpful
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking
voice and style of interaction is empowering, joyful and positive.
vulnerability and imperfection vs. making the kind of
mistakes that undermine the students‘ confidence in my
abilities.
4. Use of speaking voice: 3 I‘ve been speaking with vocal fry for years without realizing
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
it, and it‘s only been about six months since this was
cords or speaking without resonance. Teacher does not speak over the brought to my attention. It‘s getting better, but it‘s going
choir. The choir does not talk through the rehearsal. to take a lot longer to eliminate it from my voice as much
as is really possible.
5. Use of the room: 5 I had an entirely different setup from last time, but I was
The classroom/teaching space is arranged in workstation areas. The
teacher uses it effectively throughout the rehearsal, moving around the
able to act natural and move smoothly from my piano to
classroom to engage students in all parts of the room. All necessary the computer to my other materials.
instruments, manipulatives, materials, and equipment are ready and
utilized with efficiency and competency.
6. Classroom management: 4 Much better transitions this time around! I wish I had
Teacher has many skills that manage behaviors, ​transitions, ​and is gotten the kids more involved in this particular lesson.
inspiring to their students. Teacher manages the energy of the classroom
and the students.
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
 “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
1. Prepared Rehearsal Guide: 4 I had a solid plan, but I realized while I was teaching that it
Teacher has prepared a rehearsal guide in advance of teaching a piece,
and uses this guide to inform, pace, and sequence the learning in
may have been a bit oddly ordered. The relevant
rehearsals. information wasn‘t always in exactly the right spot.
2. Pacing: 5 The rehearsal moved steadily forward. We spent more
Teacher demonstrates an active, crisp tempo in rehearsals that keeps
students engaged and on task. Use of a considered vocal style, and a
time on the sight reading than anything else, but there
practiced style is evident. were enough elements of Deep River present in the sight
reading that we covered a lot of ground.
3. Direct Instruction (DI): 4 I need to be more intentional about my non-specific
Teacher demonstrates a DI model that gives academic instruction (1a’s) in
manageable chunks, allows students to perform or discuss academic
related approvals.
content (2p, 2v) and gives reinforcements with specific related feedback
(verbal 3v/n-sr approval or disapproval).
4. Minimum of talking: 5 There were times when I gave more than 7 words, but only
As a result of a Direct ​Instruction model (DI) teacher talk is at a minimum.
when it was necessary or helpful.
“7 words of less”. Off task talking is not evident, or used as a teacher
strategy.
5. Effective rehearsal plan: 4 I had a well-sequenced and well-developed plan that achieved
Teacher has a well thought out, effective, developmentally sequenced
rehearsal plan, that is guided and informed by their rehearsal guide. The
my stated goals.
teacher varies, departs from or adapts the plan as needed. Scaffolding is Timings weren‘t specific on the plan.
evident. Teacher references past learning and lessons in current lesson.
The TIMES for each major sections of the rehearsal are clearly listed on the I was steady and confident due to thorough preparation.
rehearsal plan. It is evident that the teacher has practiced the
implementation of their plan.
5A. Effective rehearsal plan:
​Kodály Integrations

6. Statements of Goals, Rehearsal Threads, and Learning Strategies: 4 Statement of goals wasn‘t explicit or visual, but it was
The lesson begins with a statement of goals (what music is to be
rehearsed, including measure numbers) what rehearsals threads will be
present and clear to the students.
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 The lesson was easy for the students to follow and
​Kodály Integrations:
understand.

7. Use of models: Vocal, aural, kinesthetic, visual: 5 Great use of solfege and transitions to words/text.
Teacher demonstrates appropriate use of aural, kinesthetic and visual
modeling to communicate musical concepts and performance style.
 “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

7A. Use of models: Vocal, aural, kinesthetic, visual: 5 I practiced the singing aspects of the lesson well and I was
​Kodály Integrations:
confident in my ability to provide a good vocal model.
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: 5 I learned that the students had yet to warm up when I arrived
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
so I put together an improvised warm up that accomplished
solfege, a range extension exercise, and a harmonic exercise. At least one what it needed to accomplish while drawing on material from
warm-up is done in reference to the material to be covered in the lesson previous lessons.
itself.
12. Sequence of lesson chunks: 4 Again, some of the information was presented in an odd
The lesson is sequenced ​in manageable chunks that accomplish the goals,
reference the rehearsal threads and use in correlation to the “golden
order, but I believe it was easy for the students to follow.
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 5 The sequencing of the solfege, rhythms, words, and sight
work:
reading followed a strong developmental hierarchy.l
Kodály Integrations
14. Learning Summary: 5 I was so touched by the way the students were able to recall
On a consistent basis, a summary of learning is presented in the last
several minutes of most rehearsals. The learning is summarized, and then
not only what I had taught the that day, but in the past as
students are invited to give feedback on their learning and the next steps well.
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: 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 increased dedication and focus on: Listening,
aural imagery, score study, increased practice time, and mastering longer
pieces.
2. Basic Function Level: Kinesthetic: n/a
Conductor demonstrates appropriate kinesthetic functioning, including:
Spine/lengthening, feet grounded/standing position, still knees, lowered
shoulder girdle, head/neck alignment, arms free and unlocked. Conductor
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:
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.

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
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
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 feel proud of how far I‘ve come between the first practicum lesson and the final
installment. ​The addition of a visual PowerPoint I could share with the students via Zoom
made all the difference in the world to me. That being said, there was a small step
backward in my engagement of the students in online learning. Where my second
practicum lesson provided opportunities for individual student contributions, the third
involved fewer assessments and more blind hope that the students were following what I
was doing. I did, however, make sure to intentionally gauge student understanding by
directing them to give me visual cues like a number scale with their fingers or a thumbs
up/down. I feel more comfortable in front of a camera now, and I‘m interested to see
how that will transfer to an actual classroom setting once this pandemic has become a
distant memory. I wish I had had more opportunities to teach in person, but I‘m incredibly
grateful for the chances I did get to make connections and establish myself and my
teaching style.