“ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p.

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

MUS 318 CONDUCTER SELF-ASSESSMENTS Name: Ashley Starkston

T.E.A.R. - Teacher Effectiveness Assessment Rubric Date: 11/27/2018
Repertoire: VMRC First Lesson (9/6/18)
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.

PART I:
Criteria: Teacher Behaviors Grade (1- 5) Next behaviors
1. Eye contact: This is good! Much better than previous semesters.
Teacher maintains eye contact throughout the rehearsal and is out of the score
It really shows that I have been working on making
as much as possible. 5
eye contact and scanning throughout the last few
semesters.
2. Non verbal affect; facial affect: 5 This actually looks pretty good too (I’m a little
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is pleasant
and reflective of the mood of the piece. surprised 😊). I can tell in the video that I was
excited to be there and feeding off of the energy
and the facial affect definitely reflected that. Keep
this one up!
3. Emotional tone, mood, humor: 5 I was having so much fun on this day! I know that
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking voice and
style of interaction is empowering, joyful and positive.
some of the days later in the semester when we
started our Christmas pieces were not quite this
joyful, so what I showed in this video is something
to keep striving for.
4. Use of speaking voice: 4 Sometimes I do drop down and get a little throaty
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
when I am talking and nervous. It was hard to tell in
speaking without resonance. Teacher does not speak over the choir. The choir this video though because I was sick, so that is
does not talk through the rehearsal. something I need to be able to fight through.
5. Use of the room:
The classroom 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.
6. Classroom management:
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
0. Prepared Rehearsal Guide: 5
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 2
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
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.
1. Pacing: 4
Teacher demonstrates an active, crisp tempo in rehearsals that keeps students
There were definitely some points where I feel like I
engaged and on task. Use of a considered vocal style, and a practiced style is talked too much in between tasks, but since we had
evident. such simple lessons that day it was nice to have
some humor and anecdotes in between.
2. Direct Instruction (DI): 3
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 1’s and 2’s were pretty good, however the 3’s were
approval or disapproval). lacking relation and specificity.

3. Minimum of talking: 4 As stated earlier, I do feel like I talked a little too

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. much in between things.
4. Effective rehearsal plan: 5
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 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.

5. 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 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.
6. Use of models: Vocal, Aural, kinesthetic, visual: 5
Teacher demonstrates appropriate use of aural, kinesthetic and visual modeling
to communicate musical concepts and performance style.

7. Vocal Pedagogy and Breathing - Bodywork:

Teacher develops the fundamentals of breathing and vocal production though a
kinesthetic approach to function, and teaching “how”.
8. Vocal Pedagogy and Breathing - Pedagogy:
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.
9. Tonal Development:
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 3
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
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, chesting, influences of popular music).

10. 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 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.
11. 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 mean”
proportion for the given length of the rehearsal period. There is a clear
scaffolding and sequencing present.
12. Use of solfege

13. Learning Summary:

On a consistent basis, a summary of learning is presented in the last 1.5 minutes
of most rehearsals. The learning is summarized, and then 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 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, increased
practice time and mastering longer pieces.
I. Basic Function Level: Kinesthetic
Conductor demonstrates appropriate kinesthetic functioning, including:
Spine/lengthening, feet grounded/standing position, still knees, lowered
shoulder girdle, head/neck alignment, arms free and unlocked.

II a. Somatic Level: Facial Affect & Eye Contact

 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 4
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
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
II b. 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.

III a. Technical Level: Pattern and Tempo

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.
III b. Technical Level: Left Hand Use, Cut-offs & Cues
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.
IV. Informed Level: Artistry and Interpretation
Conductor demonstrates mastery of the material by showing musicality and
nuance in the gesture with clear and precise shapings, rubato, and decisions that
clarify the aural image.

PART II: Comments and Reflections:

This was such a fun day at VMRC and I remember feeling so successful at the end of that lesson. I think going back and watching such an old
video where I was teaching something different than our concert repertoire was quite beneficial for me. It reminded me of how much fun I can
have with this choir and that it is okay to joke around with them and still get things done! 😊