“T. E. A. R.

” - Teacher/Conductor Effectiveness Assessment Rubric

Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
Revised 1-2023

JMU Conducting Observation: Name: Hailey Williams

T.E.A.R. - Teacher/Conductor Effectiveness Assessment Rubric Date: 9/28/2023
Ensemble & Repertoire: VMRC What Child is This
Directions:
1. All rehearsals must be recorded or you will not be allowed to be on the podium for the rehearsal in question .
2. Please complete both the cognitively-focused (Part I) Behavioral Rubric as well as the affectively-focused (Part II) Comments &
Reflection Section.
3. Before submission, color-coding Part I of this document is required: GREEN = GREAT; BLUE = NEXT STEPS; GRAY = AVOID

PART I:
Criteria: Teacher/Conductor Behaviors Grade (1- 5) Next behaviors
1. Eye contact: -Great eye contact with choir while conducting
Teacher/Conductor maintains eye contact throughout the rehearsal and is
4
-Could get out of score more, especially when giving
out of the score as much as possible.
solfege examples
2. Non-verbal affect; facial affect: -Face was engaged the entire time with the choir, both
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is
5
pleasant and reflective of the mood of the piece.
with conducting and instruction.
3. Emotional tone, mood, humor: -Was excited to sing with choir
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking
5
voice and style of interaction is empowering, joyful and positive.
-Owned up to mistakes and learned from them
-Laughing among the group
4. Use of speaking voice: -Speaking was in the upper range of the voice not too
The speaking voice is used a mirror of the singing voice. Speaking is not
4
too loud, forced, varied and expressive. The Teacher/Conductor is not
heavy
speaking on the cords or speaking without resonance. Teacher/Conductor -Would sometimes fall a bit low
does not speak over the choir. The choir does not talk through the
rehearsal.
5. Use of the room: -Situated at the stand the entire time, could move a bit
The classroom/teaching space is arranged in workstation areas. The
3
Teacher/Conductor uses it effectively throughout the rehearsal, moving
more.
around the classroom to engage students in all parts of the room. All -The space also does not allow for much room for the
necessary instruments, manipulatives, materials, and equipment are ready conductor to move.
and utilized with efficiency and competency.
Classroom management: -Transitions between lesson steps were very clear.
6.
Teacher/Conductor /Conductor demonstrates many skills that manage
5
-Not much management necessary in this space.
behaviors, transitions, and is inspiring to their students.
Teacher/Conductor /Conductor manages the energy of the classroom and
the students.
 “T. E. A. R.” - Teacher/Conductor Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
Revised 1-2023
Criteria: Rehearsal Behaviors Grade (1- Next behaviors
5)
1. Effective Rehearsal Guide/ASCAM: -ASCAM is well written and referenced
Teacher/Conductor has prepared a longitudinally-focused rehearsal
4
guide/ASCAM in advance of teaching a piece, and uses this guide to inform,
pace, and sequence all rehearsals in a developmental manner.
2. Effective Rehearsal Plan: -Lesson was effective and timely
Teacher/Conductor /Conductor has a well thought out, effective,
5
developmentally sequenced rehearsal plan, that is guided and informed by
-Transitions throughout the lesson were smooth.
their rehearsal guide. The Teacher/Conductor varies, departs from or
adapts the plan as needed. Scaffolding is evident. Teacher/Conductor
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/Conductor has practiced the implementation of
their plan.

2A. Effective rehearsal plan: -Solfege was well rehearsed

Kodály Integrations: ETPs & EHPs
4
-Octaves not rehearsed, and nerves kicked in.
3. Pacing: -Pacing was not too fast
Teacher/Conductor /Conductor demonstrates an active, crisp tempo in
5
rehearsals that keeps students engaged and on task. Use of a considered
-Pacing was fast enough to complete the goal of the lesson.
vocal style, and a practiced style is evident.
4. Direct Instruction (DI): -3as are used frequently throughout the lesson
Teacher/Conductor /Conductor demonstrates a DI model that gives
4
academic instruction (1a’s) in manageable chunks, allows students to
-could use more specific 3a phrases
perform or discuss academic content (2p, 2v) and gives reinforcements -1ds are very clear
with specific related feedback (verbal 3v/n-sr approval or disapproval).
5. Minimum of talking: -Instructions were clear and concise
As a result of a Direct Instruction model (DI) Teacher/Conductor talk is at
5
-More singing from the instructor than there was talking
a minimum. “7 words of less”. Off task talking is not evident, or used as a
Teacher/Conductor strategy.
6. Statements of Goals, Rehearsal Threads, and Learning Strategies: -Goals were stated briefly at beginning of lesson
The lesson begins with a statement of goals (what music is to be
3
rehearsed, including measure numbers) what rehearsals threads will be
-The goals were sensed throughout the lesson
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: -Rehearsal threads not stated
Kodály Integrations: ETPs & EHPs
1
 “T. E. A. R.” - Teacher/Conductor Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
Revised 1-2023
7. Use of models: Vocal, Aural, Kinesthetic, Visual: -Vocal model was well done
Teacher/Conductor demonstrates appropriate use of aural, kinesthetic
4
and visual modeling to communicate musical concepts and performance
-Vocal model when octaviated was sloppy at first, but fixed
style. later on.
-Conducting and hand signs were clear
7A. Use of models: Vocal, Aural, Kinesthetic, Visual: -Conducting and hand signs were clear
Kodály Integrations: ETPs & EHPs
4
-Hand signs could have been better placed for all to see
8. Vocal Pedagogy and Breathing - Bodywork: -Breath was given for a cue
Teacher/Conductor develops the fundamentals of breathing and vocal
4
production though a kinesthetic approach to function, and teaching
“how”.

9. Vocal Pedagogy and Breathing - Pedagogy: -Breathing was not addressed for the choir
Teacher/Conductor develops the fundamentals of breathing and vocal
2
production though appropriate use of pedagogical explanations as well as
-Choirs breathing was adequate
watching for/listening for tension and pressure.
10. Tonal Development: -tone of choir was not addressed
Teacher/Conductor develops the tone of the choir on a continual basis
2
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: -n/a
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
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 Activities and Chunks: -Lesson was chunked with attainable goals
The lesson is sequenced in well sequenced activities with manageable
5
chunks that accomplish the goals, reference the rehearsal threads, and
-Chunks were clearly stated and executed
use in correlation to the “golden mean” proportion for the given length of
the rehearsal period. There is evidence of clear scaffolding and
sequencing present.
13. Use of solfege: Tone, rhythm, harmonic sets, solfege parts, part -Solfege signs were peppered in as instructed.
work:
4
-Solfege examples were good.
Kodály Integrations: ETPs & EHPs
14. Learning Summary: -Learning was not summarized
On a consistent basis, a summary of learning is presented in the last
3
several minutes of most rehearsals. The learning is summarized, and then
-Closing of lesson consisted of looking forward for the piece.
students are invited to give feedback on their learning and the next steps
of the ensemble.
Criteria: Conducting Behaviors Grade (1- Next behaviors
 “T. E. A. R.” - Teacher/Conductor Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
Revised 1-2023

5)
0. Fluency: -cues included conducting
Teacher/Conductor moves between rehearsal instructions and
5
conducting with ease, fluency and accuracy. Teacher/Conductor has
-conducting was used when running portions of music
several different techniques for cueing in the choir, without counting off. with choir
0. Behaviors of Musical Acquisition: -choir could have been listened to more
Conductor demonstrates increased dedication and focus on: Listening,
3
aural imagery, score study, increased practice time, and mastering longer
-choir was listened to for pitch accuracy
pieces.
1. Basic Function Level: Kinesthetic: -Spine was aligned
Conductor demonstrates appropriate kinesthetic functioning, including:
4
Spine/lengthening, feet grounded/standing position, still knees, lowered
-feet were grounded
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: -facial affect was pleasant
Conductor demonstrates facial affect and expression appropriate to the
4
piece. Conductor demonstrates appropriate eye contact, including:
-facial affect could have fit song more
Scanning the ensemble, checking vs. reading music, connecting to the
ensemble and making eye contact while cueing.
2B. Somatic Level: Breath: -breathing was included in most cues
Conductor performs and demonstrates an accurate and stable opening
4
breath and continued to breathe for and with the ensemble as
-some cues did not include breathing.
appropriate for the piece or excerpt.

3A. Technical Level: Pattern and Tempo: -tempo was a bit slow, but appropriate for the rehearsal.
Conductor performs and demonstrates an accurate and stable conducting
4
pattern appropriate for the piece or excerpt. Conductor performs and
-tempo should be increased for performance.
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: -not many cut-offs given due to chunking of piece
Conductor performs and demonstrates accurate, integrated and clear
3
coordinated use of the left hand when needed as appropriate for the piece
-left hand not used too much due to scaffolding of the
or excerpt. Conductor performs and demonstrates accurate and stable lesson
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: -interpretation not yet incorporated into the conducting.
Conductor demonstrates mastery of the material by showing musicality
3
and
nuance in the gesture with clear and precise shapings, rubato, and
decisions
that clarify, represent, and express the aural image.
 “T. E. A. R.” - Teacher/Conductor Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
Revised 1-2023
Criteria: Summative Behaviors Grade (1- Next behaviors
5)
1. Gestural Progress and Assimilation: -learning is happening
The gestural vocabulary of the conductor has improved throughout the
4
rehearsal.
-Notes from last time are involved and have improved since
the last lesson.
2. Balancing Rehearsal Planning with Rehearsal Needs: -Flexibility is evident
Conductor displays fluency and flexibility in balancing the needs and
5
energy of the students in the rehearsal with the musical and rehearsal
-conductor can change lesson if necessary
needs set for the day in the lesson plan.
3. Learning from Context: -Conductor is absorbing all notes and information to be used
Conductor is aware of learning from the context of the rehearsal itself, and
5
is self-actualizing in terms of:
for the next rehearsal!
a.) their own realizations about how things are going, and changing when
needed;
b.) student feedback and questions during the rehearsal; and
c.) instructor feedback when given during the rehearsal.
d.) Conductor demonstrates ability to deftly transition to new strategies
with transparency and skill in the moment.

PART II: FINAL COMMENTS & REFLECTION:

This rehearsal went pretty well! I felt that I was incorporating conducting into my lesson very well. I would teach the lines with solfege and then on a
nu nu, and then I would conduct the run of that portion. I felt like my hand signs could have been higher on my body, as I could tell from the video
that not everyone could see my hands when they were lower. I think my lesson planning was well executed in this lesson, as I was very proud of
myself for being able to achieve all of my goals in this lesson. I felt like I could have listened to the choir a bit more and gave them more critiques.
Mostly, I was listening for note accuracy, but I could have also been listening for proper tone quality and technique. I feel like I am learning a lot from
this experience and will incorporate everything that I learn into future lessons.