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

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

JMU Student Teaching Observation: Name: Isabel Florimonte

T.E.A.R. - Teacher Effectiveness Assessment Rubric Date: 9/28/17
Ensemble & Repertoire: VMRC: 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:
Continue to smile and be in contact with the choir
Teacher maintains eye contact throughout the rehearsal and is out of the score 5
as much as possible. through eye contact
2. Non verbal affect; facial affect:
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is pleasant 5 Continue to smile with your eyes
and reflective of the mood of the piece.
3. Emotional tone, mood, humor:
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking voice and 4 Make sure tone is not insincere (too happy?)
style of interaction is empowering, joyful and positive.
4. Use of speaking voice:
The speaking voice is used a mirror of the singing voice. Speaking is not too loud, Make sure the choir can hear you (closer to the
forced, varied and expressive. The teacher is not speaking on the cords or 3
speaking without resonance. Teacher does not speak over the choir. The choir microphone)
does not talk through the rehearsal.
5. Use of the room:
The classroom is arranged in workstation areas. The teacher uses it effectively Its hard to move around in this space because of
throughout the rehearsal, moving around the classroom to engage students in
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the necessity of the microphone
all parts of the room.
6. Classroom management: Do not be afraid of silence- let the choir fill it in a more
Teacher has many skills that manage behaviors, transitions, and is inspiring to 4
their students. Teacher manages the energy of the classroom and the students. meaningful way
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
0. Prepared Rehearsal Guide: Continue to be prepared- you can never be too
Teacher has prepared a rehearsal guide in advance of teaching a piece, and uses 4
this guide to inform, pace, and sequence the learning in rehearsals. prepared!!
1. Pacing:
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.
4 Let time for the choir to speak- dont feel rushed.
 T. E. A. R. - Teacher Effectiveness Assessment Rubric p. 2
Dr. Jo-Anne van der Vat-Chromy
James Madison University 2011 All rights reserved
2. Direct Instruction (DI):
Teacher demonstrates a DI model that gives academic instruction (1as) 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 Continue to follow only whats written in the script

3. Minimum of talking:
As a result of a Direct Instruction model (DI) teacher talk is at a minimum. 7 4 Stick right to the point
words of less. Off task talking is not evident, or used as a teacher strategy.
4. Effective rehearsal plan: Continue to mix things up- allow for fun while still being
Teacher has a well thought out, effective, developmentally sequenced rehearsal 4
plan, that is guided and informed by their rehearsal guide. The teacher varies,
productive
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
5 Keep reciting goals precisely and clear
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: Consider using kinesthetic visuals for choir to follow while
Teacher demonstrates appropriate use of aural, kinesthetic and visual modeling
to communicate musical concepts and performance style.
4 singing through the piece (continue learning even after piece
is learned note-wise)

7. Vocal Pedagogy and Breathing - Bodywork:

Teacher develops the fundamentals of breathing and vocal production though a 3 Breathe for the choir!!
kinesthetic approach to function, and teaching how.
8. Vocal Pedagogy and Breathing - Pedagogy:
Teacher develops the fundamentals of breathing and vocal production though Change conducting when vocal production is not
appropriate use of pedagogical explanations as well as watching for/listening
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what you want
for tension and pressure.
9. Tonal Development: Make remarks while running through piece for choir to fix
Teacher develops the tone of the choir on a continual basis throughout 4
rehearsals through attention to bodywork, vowels, placement blend, and
right away
listening for inappropriate vocal sounds or production habits (tension, pushing,
using the speaking voice, yelling, chesting, influences of popular music).
 T. E. A. R. - Teacher Effectiveness Assessment Rubric p. 3
Dr. Jo-Anne van der Vat-Chromy
James Madison University 2011 All rights reserved

10. 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.
11. Sequence of lesson chunks: Continue to know when you are going during the
The lesson is sequenced in manageable chunks that accomplish the goals, 4
reference the rehearsal threads and use in correlation to the golden mean
rehearsal to plan on the energy of the room
proportion for the given length of the rehearsal period. There is a clear
scaffolding and sequencing present.

12. Use of solfege

4 Use solfege to remind choir when notes seem shaky

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
n/a
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
5 Continue to give crisp cues
choir, without counting off.
0. Behaviors of Musical Acquisition: Conductor demonstrates increased
dedication and focus on: Listening, aural imagery, score study, increased 4 Listen and change behavior when necessary
practice time and mastering longer pieces.
I. Basic Function Level: Kinesthetic 3 Floppy wrists need work
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

Conductor demonstrates facial affect and expression appropriate to the piece.
Conductor demonstrates appropriate eye contact, including: scanning the 5 Continue to smile, only check the music, not read
ensemble, checking vs. reading music, connecting to the ensemble and making
eye contact while cueing
 T. E. A. R. - Teacher Effectiveness Assessment Rubric p. 4
Dr. Jo-Anne van der Vat-Chromy
James Madison University 2011 All rights reserved
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.

4 Crisp beginning

III a. Technical Level: Pattern and Tempo

Conductor performs and demonstrates an accurate and stable conducting
5 Maintain the strong pace/tempo
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 5 Continue to use left hand gestures and strong cut-offs/cues
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
4 Possible add some shaping to the piece- keep it interesting
clarify the aural image.

PART I: Comments and Reflections:

I felt so much better this time around! The choir is sounding amazing! We went from a hard rehearsal a
week before to this rehearsal which was the icing on the cake of my week. It felt so inspiring to see the
choir make music with me. I need to be aware that silence is okay and to give people time to think. I started
rocking back and forth while I allowed the choir to think about the meaning of the piece because I was
nervous of the silence and wanted to fill it. Its okay to have the silence because the choir needs to think
deeper into the piece. After we thought about the music and ran through it, the piece was more
 T. E. A. R. - Teacher Effectiveness Assessment Rubric p. 5
Dr. Jo-Anne van der Vat-Chromy
James Madison University 2011 All rights reserved

meaningful to everyone and that showed through their facial affect and tone. After this rehearsal, I know I
need to work more on my conducting. The floppy wrists are still an issue, so I will try to improve that in the
run through. Overall, I am very pleased at my progress and the progress of the choir!