“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: Madi Gilleland

T.E.A.R. - Teacher Effectiveness Assessment Rubric #1 Date: 10/23/23
Ensemble & Repertoire: VMRC Generations Choir / “Angels We Have Heard on High”
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: 5 Had great eye contact throughout my teaching
Teacher maintains eye contact throughout the rehearsal and is out of the
score as much as possible.
2. Non-verbal affect; facial affect: 5 Didn’t really look at score at all
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is
pleasant and reflective of the mood of the piece.
3. Emotional tone, mood, humor: 5 I think I was very pleasant and joyful
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: 5 Used good voice/high pitched/healthy voice when speaking
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: n/a out of my control for this specific choir
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: n/a just ran my piece
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: 5 had an effective rehearsal plan/just ran 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 rehearsals.
 “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: 5 great tempo and correct style for the music and choir
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): 5 had an appropriate amount of 1a’s!
Teacher demonstrates a DI model that gives academic instruction (1a’s) in
manageable chunks, allows students to perform or discuss academic
content (2p, 2v) and gives reinforcements with specific related feedback
(verbal 3v/n-sr approval or disapproval).
4. Minimum of talking: 5 mostly conducted
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:
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 5 just conducted it
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: n/a n/a
Kodály Integrations

6. Statements of Goals, Rehearsal Threads, and Learning Strategies:

The lesson begins with a statement of goals (what music is to be
rehearsed, including measure numbers) what rehearsals threads will be
i roughly stated what we would be doing, but could have
the focus of the rehearsal, and what learning strategies will be employed 2 more of an intentional theme/rehearsal thread
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:
Kodály Integrations:
above^ ^^^

7. Use of models: Vocal, aural, kinesthetic, visual:

Teacher demonstrates appropriate use of aural, kinesthetic and visual
modeling to communicate musical concepts and performance style.
5 yes!

7A. Use of models: Vocal, aural, kinesthetic, visual:

Kodály Integrations:
 “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
8. Vocal Pedagogy and Breathing - Bodywork:
Teacher develops the fundamentals of breathing and vocal production
though a kinesthetic approach to function, and teaching “how”.
4 gave good breaths when conducting

9. Vocal Pedagogy and Breathing - Pedagogy:

Teacher develops the fundamentals of breathing and vocal production
though appropriate use of pedagogical explanations as well as watching
4 listened well to their sound
for/listening for tension and pressure.
10. Tonal Development:
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: n/a 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 chunks:
The lesson is sequenced in manageable chunks that accomplish the goals,
reference the rehearsal threads and use in correlation to the “golden
5 sequenced everything well in 10 lessons!
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 n/a conducted and ran it
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
0 should do this!
students are invited to give feedback on their learning and the next steps
of the ensemble.
Criteria: Conducting Behaviors Grade (1- 5) Next behaviors
0. Fluency:
Teacher moves between rehearsal instructions and
conducting with ease, fluency and accuracy. Teacher
5 just conducted and ran it
has several different techniques for cueing in the
choir, without counting off.
0. Behaviors of Musical Acquisition:
Conductor demonstrates increased dedication and
focus on: Listening, aural imagery, score study,
5 yes!
increased practice time, and mastering longer pieces.
1. Basic Function Level: Kinesthetic:
 “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
Conductor demonstrates appropriate kinesthetic
functioning, including: Spine/lengthening, feet
grounded/standing position, still knees, lowered 4 could lengthen more but improved from last
shoulder girdle, head/neck alignment, arms free and time, feet are nicely grounded, arms could be
unlocked. Conductor is aware of the C1 vertebrae more aligned
and the alignment of the head/skull to the neck and
spine (Alexander Technique).
2A. Somatic Level: Facial Affect & Eye Contact:
Conductor demonstrates facial affect and expression
appropriate to the piece. Conductor demonstrates
gave great eye contact and facial affect!
appropriate eye contact, including: Scanning the 5
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
5 gave great breaths and cues
breathe for and with the ensemble as appropriate for
the piece or excerpt.
3A. Technical Level: Pattern and Tempo:
Conductor performs and demonstrates an accurate
and stable conducting pattern appropriate for the 5 great tempo and consistent with my
piece or excerpt. Conductor performs and
demonstrates all of the above criteria in a tempo
pattern!
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: give great cues and cutoffs; can use more
Conductor performs and demonstrates accurate,
integrated and clear coordinated use of the left hand 4 shaping and left hand gestures!
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:
Conductor demonstrates mastery of the material by
showing musicality and
5 was the music!
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
James Madison University © 2011 – All rights reserved
Revised 10-2020
Dr. V Comments:
Oct. 12: Madi: You look great!

I feel good about it! I want to add more shaping and gestures with my left hand but overall I have a great tempo and facial affect for the piece!