“ 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:

T.E.A.R. - Teacher Effectiveness Assessment Rubric Date:
Repertoire:
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: I was not as prepared as I should have been for this
Teacher maintains eye contact throughout the rehearsal and is out of the score
3 rehearsal and so I was looking at my notes and my
as much as possible.
music too much.
2. Non verbal affect; facial affect: 3 I still have an unpleasant look on my face that I
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is pleasant
and reflective of the mood of the piece. need to fix.
3. Emotional tone, mood, humor: 3 I seem pleasant enough, but I say “guys” too many
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking voice and
style of interaction is empowering, joyful and positive. times. I need to break that bad habit.
4. Use of speaking voice: 3
The speaking voice is used a mirror of the singing voice. Speaking is not too loud, My speaking voice was loud enough but I didn’t use
forced, varied and expressive. The teacher is not speaking on the cords or very healthy technique. This is something I don’t
speaking without resonance. Teacher does not speak over the choir. The choir think about often. I need to change that habit.
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: 4 I did better than the last week with this, but I could
Teacher has many skills that manage behaviors, transitions, and is inspiring to
their students. Teacher manages the energy of the classroom and the students. still transition quicker than I currently am.
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
0. Prepared Rehearsal Guide: 4 I had a rehearsal guide, but it was not as good as
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.
the last one I had. This is just something I need to
do better.
1. Pacing: 4
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 Again I talked too much, but I did significantly better
evident. than I did the last week.
 “ 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): 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 I still gave too many unnecessary 3s. I need to cut
approval or disapproval). back on that.

3. Minimum of talking: 3
As a result of a Direct Instruction model (DI) teacher talk is at a minimum. “7 I still talked too much. I need to cut back.
words of less”. Off task talking is not evident, or used as a teacher strategy.
4. Effective rehearsal plan: 3 I didn’t flesh out my rehearsal plan as much as I should have.
Teacher has a well thought out, effective, developmentally sequenced rehearsal
plan, that is guided and informed by their rehearsal guide. The teacher varies,
It still went off well and I completed my goals, however the
departs from or adapts the plan as needed. Scaffolding is evident. Teacher plan wasn’t that great.
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: 0

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 forgot to do this.
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: 4 I think I am doing a pretty good job with the modeling. I had a
Teacher demonstrates appropriate use of aural, kinesthetic and visual modeling
to communicate musical concepts and performance style.
small hiccup in one section. I just need to be better prepared.

7. Vocal Pedagogy and Breathing - Bodywork: 0

Teacher develops the fundamentals of breathing and vocal production though a
kinesthetic approach to function, and teaching “how”.
8. Vocal Pedagogy and Breathing - Pedagogy: 0
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: 0
Teacher develops the tone of the choir on a continual basis throughout
rehearsals through attention to bodywork, vowels, placement blend, and
0
listening for inappropriate vocal sounds or production habits (tension, pushing, 0
using the speaking voice, yelling, chesting, influences of popular music).

0
 “ 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:
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 think the structure of this lesson worked out very
The lesson is sequenced in manageable chunks that accomplish the goals,
reference the rehearsal threads and use in correlation to the “golden mean”
well. We accomplished everything I had planned
proportion for the given length of the rehearsal period. There is a clear and we got to end with a runthrough on all parts on
scaffolding and sequencing present. text.

12. Use of solfege 4

Besides a hiccup I had, I used solfege consistently throughout
the rehearsal.

13. Learning Summary: 0

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
Didn’t have time to do this one
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, Just more experience and more practice is next for
fluency and accuracy. Teacher has several different techniques for cueing in the
3
this.
choir, without counting off.
0. Behaviors of Musical Acquisition: Conductor demonstrates increased
dedication and focus on: Listening, aural imagery, score study, increased 3 I was not as prepared as I had been other weeks.
practice time and mastering longer pieces.
I. Basic Function Level: Kinesthetic I need to work on getting all of my gestures lower so that
Conductor demonstrates appropriate kinesthetic functioning, including: 3
Spine/lengthening, feet grounded/standing position, still knees, lowered
they are breathing more properly.
shoulder girdle, head/neck alignment, arms free and unlocked.
 “ 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 a. Somatic Level: Facial Affect & Eye Contact
Conductor demonstrates facial affect and expression appropriate to the piece. I have no idea why I have such a hard time with this. This has
Conductor demonstrates appropriate eye contact, including: scanning the 2 always been, and continues to be, something that I really
ensemble, checking vs. reading music, connecting to the ensemble and making need to work on.
eye contact while cueing
II b. Somatic Level: Breath
Conductor performs and demonstrates an accurate and stable opening breath I did a good job with the breaths especially at the beginning of
and continued to breathe for and with the ensemble as appropriate for the piece 4 the piece. I can always make it clearer though, especially in
or excerpt. the middle of the piece.
III a. Technical Level: Pattern and Tempo Pattern was accurate and stable tempo wise. I just need to get
Conductor performs and demonstrates an accurate and stable conducting 3
pattern appropriate for the piece or excerpt. Conductor performs and
it down lower.
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 My lifts and cutoffs are still muddy, I need to sharpen them up
excerpt. Conductor performs and demonstrates accurate and stable cut-offs 3
when needed as appropriate for the piece or excerpt. Conductor performs and without changing the mood of the piece.
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
1 I didn’t really do any of that this rehearsal time.
clarify the aural image.

PART II: Comments and Reflections: This rehearsal was very successful, I was able to get the entire first
verse done on text and everyone on their own parts. It is really feeling like this piece is coming
together now and I’m getting super excited.