James Probst

Assessment Portfolio
Secondary Band 6-12

1.) Scale exams

Scale exams are a direct assessment of students’ technical development. One of the objectives of
a high school band program is to ensure that all students play all 12 major scales, so this
development should be assessed. During the class period, this could be assessed informally
through warm-up activities, however, for formal, individual assessment scale exams could
happen in one of two ways. If technology is available to all students, the director can have each
student send in a recording of the scale being assessed, or if two directors are available, one can
direct the rehearsal while the other pulls kids one-by-one into his or her office.  These two
options allow for class time not to be wasted while individuals are being assessed.  

2.) Journal entry

Journal entries are a great way to enter into the thought processes of one’s students and gain
insight into individual learning. This assessment tool is incredibly useful for assessing critical
thinking about upper-level music concepts, such how the individual is able to make connections
between music and meaning.  One can also use a journal format, either written or electronically,
to assess how well the student can articulate this understanding. Accepting electronic responses
can be a helpful accommodation for students who struggle with physically writing or with
spelling. Not only is journaling a helpful assessment tool, but it is also a way to incorporate
cross-curricular learning.

Example prompt for 7th-8th grade students:

Select one section of the piece, “Portrait of a Clown”, and write one paragraph about what might
be happening to the clown in this moment and what musical elements make it sound that way.

3.) Practice journal

Another way of using journals for a specific purpose is the practice journal.  Students can log the
specific parts of the music that they worked on each day and turn it in at the beginning of the
next week.  This helps us accomplish three things:
1.) To assess whether or not they are actually practicing.
2.) To assess their practice habits and skills.
3.) To learn which sections they are having the most difficulty with.
Practice journals are more reliable and effective than practice logs which just show the number
of minutes practiced because practice logs which only show numbers are much easier to be
dishonest with or might include minutes not focused on target skills.  The practice journal
eliminates these issues by forcing targeted practice and records.

4.) Pen-and-paper quiz

Standard pen-and-paper assessments can also work as direct, summative, formal assessments in
the music classroom to assess learning in areas such as theory and aural skills, where this type of
assessment is an appropriate way to collect data. 

Example:

After a unit on identifying six intervals (m2, M2, m3, M3, P4, P5) and 2 chord qualities (M, m),
students will be given an 8-question quiz (in two sections) where the listening examples will be
played by the instructor three times each.  Students are to identify the interval or chord quality. 
A simple checklist, yes or no, will determine how well the students are able to identify these
aural intervals.  To ensure students are not getting answers wrong because they are confused
about how to write the answer, a word bank will be given.  If a particular student really struggles,
an individual assessment may be warranted to identify the source of confusion.

5.) Think Pair Share

Think Pair Share can be used as an opportunity to informally assess student thinking.  Walking
around during the “Pair” part is helpful for not only listening to each student, but it also gives an
opportunity to supplement and guide individual student conversation.  An example of this might
occur after a run-through of a piece.   Students will be directed by the instructor to think about
three things:  1- What could you improve on?  2- What could your section improve on?  3- What
could the ensemble improve on?  After taking thirty seconds to think, students can talk to their
neighbor.  When everyone comes together, the band director could ask about question 3.

6.) Error detection rubric 

Students can construct this assessment tool together piece by piece.  Week by week, students will
progressively identify the criteria based on key elements to playing music.  These will include
such elements as proper posture, good breathing, right notes and rhythms, and expressive
qualities.  Students will also determine what each number on the rubric looks like for each
criterion.  To use this assessment tool, students will be given an evaluation sheet.  We could play
a warm-up chorale twice with half of the band playing, and the other half using the rubric to
evaluate their partner.  Then, they switch.  Not only is this useful for gathering a lot of
information quickly, but when students assess and are assessed by their peers, they become
acutely aware of how to detect errors and fix them on their own, independently of the instructor.

7.) Directed listening

Directed listening is a constant process in rehearsal.  As students play, the instructor receives
student input.  The instructor uses multiple set criteria to evaluate this input, such as tone quality,
note and rhythm accuracy, and intonation, and is able to communicate quickly and efficiently to
the students about how to improve.  When isolating certain sections, each repetition represents an
assessment, with hopes of improving each time.  When things do not improve, the director must
figure out why and then try something new.  Students can be involved in this process as well. 
When asking for student input during the rehearsal process, the director is also indirectly
assessing error detection.
8.) Festival

The festival performance for a secondary music program is a formal assessment of student
progress, and it can be formative or summative.  There are several opportunities within this
performance event for students to both be assessed and to assess themselves in individual and
group settings.  The director is also assessed by the judges, who will provide specific feedback. 
The director can self-assess and assess the band with the recording provided as well.  The
students can self-assess and evaluate each other informally by listening to the recording in class
and engaging in a class discussion afterwards, facilitated by the director.