“ 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: Alton Peters

T.E.A.R. - Teacher Effectiveness Assessment Rubric Date: 9/20/18
Repertoire: Come thou Long Expected Jesus
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:
Next for this is to keep memorizing the score and
Teacher maintains eye contact throughout the rehearsal and is out of the score 4
as much as possible. have it more prepared.
2. Non verbal affect; facial affect: 2 I still need to keep my face engaged. I look angry
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is pleasant
and reflective of the mood of the piece.
and tired all the time. I need to fix that about
myself.
3. Emotional tone, mood, humor: 4
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking voice and Next for me is to keep engaging with the group
style of interaction is empowering, joyful and positive.
4. Use of speaking voice: 3
The speaking voice is used a mirror of the singing voice. Speaking is not too loud, I projected well throughout this rehearsal, however
forced, varied and expressive. The teacher is not speaking on the cords or I was a little bit sick this rehearsal and was not using
speaking without resonance. Teacher does not speak over the choir. The choir great technique as I was speaking.
does not talk through the rehearsal.
5. Use of the room: N/A
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: 2 The next step for this is to just keep doing it. The
Teacher has many skills that manage behaviors, transitions, and is inspiring to
their students. Teacher manages the energy of the classroom and the students.
more experience I get with this, the better I will be.
My transitions are still a little slow so I need to fix
those as well.
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
0. Prepared Rehearsal Guide: 5 I spent a lot of time on this script to make sure I had
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.
no hiccups during the rehearsal. It also helped that
Dr. V had outlined it for us in advance.
1. Pacing: 4 The tempo used in rehearsal was directly in line
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
with what I wanted to do for the concert. However,
evident. I need to work on pacing between activities.
 “ 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): 2

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).
3. Minimum of talking:
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.
4. 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 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.
I GIVE TOO MANY 3s. I need to do more 1s and 2s,
and significantly less 3s. For some reason it is
ingrained in my brain that I need to say something
after each time they sing when sometimes I should
actually just move on.
1 Again with the pacing and the too many 3s, I just
simply talk too much. I need ot cut back on it.
3 My plan was well fleshed out, however I didn’t have a clear
plan for any winding. Assuming that they stayed right on
schedule I would have been fine, but there was no wiggle
room really written in.

5. Statements of Goals, Rehearsal Threads, and Learning Strategies: 5

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
I did this when I walked up, it’s not on the video though.
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: 3 I think I did a good job with the vocal and kinesthetic,
Teacher demonstrates appropriate use of aural, kinesthetic and visual modeling
to communicate musical concepts and performance style.
especially implementing them at the same time, however I
could do better with the aural.

7. Vocal Pedagogy and Breathing - Bodywork: 0

Teacher develops the fundamentals of breathing and vocal production though a I didn’t talk about this at all really.
kinesthetic approach to function, and teaching “how”.
8. Vocal Pedagogy and Breathing - Pedagogy: 1
Teacher develops the fundamentals of breathing and vocal production though I mentioned breathing but gave no explanations or
appropriate use of pedagogical explanations as well as watching for/listening anything of that nature.
for tension and pressure.
9. Tonal Development: N22
2 I mentioned breathing and support for tone but nothing really
 “ 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 beyond that.
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: 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
N/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: 4 I got everything that I intended to do done. I could
The lesson is sequenced in manageable chunks that accomplish the goals,
reference the rehearsal threads and use in correlation to the “golden mean”
be a little smoother with the transitions though.
proportion for the given length of the rehearsal period. There is a clear
scaffolding and sequencing present.

12. Use of solfege 5

I taught them on solfege and then kept doing the handsigns
even after they switched to text.

13. Learning Summary: 0

On a consistent basis, a summary of learning is presented in the last 1.5 minutes I did not get a chance to talk about the learning that
of most rehearsals. The learning is summarized, and then students are invited occurred.
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
I never got to any conducting in this rehearsal.
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:

I think this rehearsal went really well for me. The biggest things I have to work on are pacing and
transitions. I am a talkative person by nature, so I need to fight that and keep my comments concise
and keep the rehearsal flowing smoothly.