“T. E. A. R.

” - Teacher Effectiveness Assessment Rubric

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

JMU Practicum Observation: Name:

T.E.A.R. - Teacher Effectiveness Assessment Rubric # Date:
Ensemble & Repertoire:
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: Maintaining eye contact!
Teacher maintains eye contact throughout the rehearsal and is out of the
5
score as much as possible.
2. Non-verbal affect; facial affect: Maintaining affect!
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is
pleasant and reflective of the mood of the piece.
5
3. Emotional tone, mood, humor: Keeping that balance between humor and fun and ensuring
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking
voice and style of interaction is empowering, joyful and positive.
5 productivity is still happening.
4. Use of speaking voice: Speaking light on my voice and on the breath more
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
4 consistently.
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: N/A
The classroom/teaching space 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. All necessary
instruments, manipulatives, materials, and equipment are ready and
utilized with efficiency and competency.
6. Classroom management: 3.5 More seamless transitions!
Teacher has many skills that manage behaviors, transitions, and is
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: 0 I didn’t have a rehearsal plan  so perhaps being more
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.
prepared is a good next step…
 “T. E. A. R.” - Teacher Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
Revised 10-2020
2. Pacing: 4 Keeping ensemble engagement with awareness
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): Balancing 1s, 2s, and 3s more effectively
Teacher demonstrates a DI model that gives academic instruction (1a’s) in
manageable chunks, allows students to perform or discuss academic
3
content (2p, 2v) and gives reinforcements with specific related feedback
(verbal 3v/n-sr approval or disapproval).
4. Minimum of talking: This wasn’t as hard since I’m losing my voice, but
As a result of a Direct Instruction model (DI) teacher talk is at a minimum. 4 maintaining the right balance of talking and not talking!
“7 words of less”. Off task talking is not evident, or used as a teacher
strategy.
5. Effective rehearsal plan: Overall, I feel good about the way this lesson was layered, so
Teacher has a well thought out, effective, developmentally sequenced
rehearsal plan, that is guided and informed by their rehearsal guide. The
maintaining that is the next step!
teacher varies, departs from or adapts the plan as needed. Scaffolding is 4
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. It is evident that the teacher has practiced the
implementation of their plan.
5A. Effective rehearsal plan:
Kodály Integrations
N/A

6. Statements of Goals, Rehearsal Threads, and Learning Strategies: Continuing to be clear and effective in rehearsal threads
The lesson begins with a statement of goals (what music is to be
rehearsed, including measure numbers) what rehearsals threads will be
and goals!
the focus of the rehearsal, and what learning strategies will be employed 5
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: N/A
Kodály Integrations:

7. Use of models: Vocal, aural, kinesthetic, visual: 4 Continuing to model well and always improve my accuracy
Teacher demonstrates appropriate use of aural, kinesthetic and visual
modeling to communicate musical concepts and performance style.
and example
7A. Use of models: Vocal, aural, kinesthetic, visual: N/A
Kodály Integrations:

8. Vocal Pedagogy and Breathing - Bodywork: 4 Promoting proper vocal production throughout the rehearsal
Teacher develops the fundamentals of breathing and vocal production
 “T. E. A. R.” - Teacher Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
Revised 10-2020
though a kinesthetic approach to function, and teaching “how”.

9. Vocal Pedagogy and Breathing - Pedagogy: Maintaining healthy breath modeling!

Teacher develops the fundamentals of breathing and vocal production
though appropriate use of pedagogical explanations as well as watching
5
for/listening for tension and pressure.
10. Tonal Development: Again, maintaining and working on tonal development
Teacher develops the tone of the choir on a continual basis throughout
rehearsals through attention to bodywork, vowels, placement blend, and
4 throughout the rehearsal.
listening for inappropriate vocal sounds or production habits (tension,
pushing, using the speaking voice, yelling, incorrect belting technique).

11. 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
N/A
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:
The lesson is sequenced in manageable chunks that accomplish the goals,
reference the rehearsal threads and use in correlation to the “golden
N/A
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
work: N/A
Kodály Integrations
14. Learning Summary:
On a consistent basis, a summary of learning is presented in the last
several minutes of most rehearsals. The learning is summarized, and then
N/A
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: Maintaining more frictionless transitions while
Teacher moves between rehearsal instructions and conducting with ease,
fluency and accuracy. Teacher has several different techniques for cueing
5 maintaining engagement.
in the choir, without counting off.
1. Behaviors of Musical Acquisition: Score studying and preparing even more prior to working
Conductor demonstrates increased dedication and focus on: Listening,
aural imagery, score study, increased practice time, and mastering longer
5 on pieces with ensembles!
pieces.
2. Basic Function Level: Kinesthetic: Maintaining good alignment as I shift between teaching and
Conductor demonstrates appropriate kinesthetic functioning, including:
Spine/lengthening, feet grounded/standing position, still knees, lowered
5 conducting!
shoulder girdle, head/neck alignment, arms free and unlocked. Conductor
 “T. E. A. R.” - Teacher Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
Revised 10-2020
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: Keeping up my facial affect and eye contact.
Conductor demonstrates facial affect and expression appropriate to the
piece. Conductor demonstrates appropriate eye contact, including:
5
Scanning the ensemble, checking vs. reading music, connecting to the
ensemble and making eye contact while cueing.
2B. Somatic Level: Breath: No sniffing!
Conductor performs and demonstrates an accurate and stable opening
breath and continued to breathe for and with the ensemble as
4
appropriate for the piece or excerpt.

3A. Technical Level: Pattern and Tempo: Consistency and clear patterns!
Conductor performs and demonstrates an accurate and stable conducting
pattern appropriate for the piece or excerpt. Conductor performs and
4
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: I feel like I really improved this over the course of VMRC!
Conductor performs and demonstrates accurate, integrated and clear
coordinated use of the left hand when needed as appropriate for the piece
5 Next steps are being even clearer!
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: Even more precise shapings!!!
Conductor demonstrates mastery of the material by showing musicality
and
4.5
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:

Wow! I am feeling so happy and proud of the work this ensemble has done, and am proud of myself for the areas in which I’ve
grown through this practicum. My next steps are to carry this work with me and continue to improve throughout my future
experiences. It was truly incredible to hear the Generations Choir make such beautiful music and to be a part of it.