“ 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: 10/11/18
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: This is the best I have done with eye contact. There
Teacher maintains eye contact throughout the rehearsal and is out of the score
4 can always be more, but I did a good job especially
as much as possible.
during instruction.
2. Non verbal affect; facial affect: 3 This is significantly better than I have previously
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is pleasant
and reflective of the mood of the piece.
done with facial affect. I looked much more
welcoming.
3. Emotional tone, mood, humor: 4 I was very talkative in a productive way this
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking voice and
style of interaction is empowering, joyful and positive. rehearsal. It worked in my favor for sure.
4. Use of speaking voice: 3
The speaking voice is used a mirror of the singing voice. Speaking is not too loud, I did better with keeping my speaking voice in line
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 with my singing voice.
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 think I did a good job in this time to keep 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.
energy of the classroom high and it was very
productive.
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
0. Prepared Rehearsal Guide: 5 This week I had wound forward in my lesson plan,
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.
and it was a good thing I did, because they
surpassed my expectations at the beginning of the
time and we moved much quicker than the original
plan. My winding forward worked out great for the
rehearsal.
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 2
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
1. Pacing: 4
Teacher demonstrates an active, crisp tempo in rehearsals that keeps students I talked a lot, but it didn’t seem to take away. I had
engaged and on task. Use of a considered vocal style, and a practiced style is
evident.
a couple of gaps in speech where I was thinking
about things, and that shouldn’t have happened.

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 I still gave too many 3’s. I had planned to give less,
(2p, 2v) and gives reinforcements with specific related feedback (verbal 3v/n-sr
approval or disapproval).
but they surprised me with how well they did, and I
couldn’t help but compliment them.

3. Minimum of talking: 3 I definitely talked a lot, but like I said earlier it was
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.
mostly productive. We had finished with the basic
learning, so there was more in depth pedagogy to
talk about this lesson.
4. Effective rehearsal plan: 4 This rehearsal felt really good for me. The plan was well
Teacher has a well thought out, effective, developmentally sequenced rehearsal
plan, that is guided and informed by their rehearsal guide. The teacher varies,
written, but I could have practiced it more to get the lulls
departs from or adapts the plan as needed. Scaffolding is evident. Teacher smoothed out a little.
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: 3

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 Before each section I stated my goal for that section,
rehearsal, and what learning strategies will be employed in order to work the however, I didn’t do it at the beginning of the rehearsal.
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 didn’t use any kinesthetic models, maybe I could incorporate
Teacher demonstrates appropriate use of aural, kinesthetic and visual modeling
to communicate musical concepts and performance style.
that in next time.

7. Vocal Pedagogy and Breathing - Bodywork: 3 I made a few comments throughout the lesson, making sure
Teacher develops the fundamentals of breathing and vocal production though a
kinesthetic approach to function, and teaching “how”.
that the members of the choir were staying seated with their
backs straight.
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 3
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
8. Vocal Pedagogy and Breathing - Pedagogy: 3 I made a few comments throughout the lesson,
Teacher develops the fundamentals of breathing and vocal production though
appropriate use of pedagogical explanations as well as watching for/listening
making sure that the members of the choir were
for tension and pressure. staying on the breath.
9. Tonal Development: 3 They didn’t do anything that was detrimental to tone, so I was
Teacher develops the tone of the choir on a continual basis throughout
rehearsals through attention to bodywork, vowels, placement blend, and
looking out for things like that but nothing really came up.
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
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 did this in 2 measure chunks so it was very doable
The lesson is sequenced in manageable chunks that accomplish the goals,
reference the rehearsal threads and use in correlation to the “golden mean”
for the students. The sequencing seemed to be
proportion for the given length of the rehearsal period. There is a clear logical.
scaffolding and sequencing present.

12. Use of solfege N/A

13. Learning Summary: 0

On a consistent basis, a summary of learning is presented in the last 1.5 minutes I didn’t end up doing a learning summary
of most rehearsals. The learning is summarized, and then students are invited unfortunately.
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
4 I did a better job with the transitions this time
choir, without counting off.
0. Behaviors of Musical Acquisition: Conductor demonstrates increased I had a couple brain farts that could have been
dedication and focus on: Listening, aural imagery, score study, increased 3
practice time and mastering longer pieces. avoided by further score study.
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 4
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
I. Basic Function Level: Kinesthetic I did a decent job with this, but I still need to get my gesture
Conductor demonstrates appropriate kinesthetic functioning, including: 3
Spine/lengthening, feet grounded/standing position, still knees, lowered
lower and stand up straighter
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. I did much better with this. I worked a lot more on the eye
Conductor demonstrates appropriate eye contact, including: scanning the 4
ensemble, checking vs. reading music, connecting to the ensemble and making contact and smiling.
eye contact while cueing
II b. Somatic Level: Breath
Conductor performs and demonstrates an accurate and stable opening breath This rehearsal was almost completely about the breath, so I
and continued to breathe for and with the ensemble as appropriate for the piece 4
or excerpt. believe I showed that pretty well.

III a. Technical Level: Pattern and Tempo My pattern and tempo did fine, but I need to get my gesture
Conductor performs and demonstrates an accurate and stable conducting 4
pattern appropriate for the piece or excerpt. Conductor performs and
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 I used my left hand for a lot of showing breaths. I need to still
excerpt. Conductor performs and demonstrates accurate and stable cut-offs 3 work on showing my dynamics and stress but it is coming
when needed as appropriate for the piece or excerpt. Conductor performs and along.
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 I put in all of my markings for how I want the stresses to be.
clarify the aural image.

PART II: Comments and Reflections:

This was the best rehearsal I have ever had. Everything kind of fell into place and the combination of my
rehearsal plan and the retention of information by the choir made this a very effective rehearsal.