Criteria for Judging

International Journal of Music Education, 2020

Evaluation of music performance in competitive contexts often produces discrepancies between the expert judges. These discrepancies can be reduced by using appropriate rubrics that minimise the differences between judges. The objective of this study was the design and validation of an analytical evaluation rubric, which would allow the most objective evaluation possible of a musical solo performance in a regulated official competition. A panel of three experts created an analytical rubric made up of five review criteria and three scoring levels, together with their respective indicators. To validate the rubric, two independent panels of judges used it to score a sample of recordings. An examination was made of the dimensionality, sources of error, inter-rater reliability and internal consistency of the scores coming from the experts. The essential unidimensionality of the rubric was confirmed. No differential effects between raters were found, nor were significant differences seen i...

International Journal of Music and Performing Arts, 2018

The education enterprise is fraught with diverse strategies for assessing learning outcomes. The diversity manifests attempts to confront the challenges that impede the achievement of objectivity, which is required to enhance the efficacy of evaluating students' learning outcomes. This struggle becomes pronounced as educators engage in the assessment of "practical" performance of art forms that demand a lot of effort to uphold objectivity and meliorate problems relating to reliability and validity that characterize subjective observations made by assessors. This study examined assessment strategies adopted by a department of performing arts with the view to increasing the degree of objectivity associated with the assessment of performing arts "practical" examination. For the study, data was collected from three judges during the end of semester examinations for the courses Ghanaian traditional dance, Dance Techniques and Introduction to Dance Cultures of the World in the 2015/2016 academic year. The results indicated that there was significant difference with an α = 0.05, F(2, 85) = 30.3, p= .001. The analysis of the inter-judge correlation yielded a correlation coefficient of 0.6. This coefficient is fairly weak considering the impact of the assessment on students' future academic development. To ameliorate the perennial problem of subjectivity in performance assessment, the portfolio assessment has been suggested as a compliment to the traditional "panel assessment" of practical performance examination taken by performing arts students of dance.

Proceedings of the International Conference on Science and Education and Technology (ISET 2019), 2020

The purpose of this study is to know the meaning of music art and its elements and to provide solutions to evaluation problems that are still often found in schools, especially in the learning of music art. The evaluation results show that the standard loading value has a valid value. The value of contract reliability shows that the value of each construct of the musical artwork instrument model is reliable. The construct of the artwork assessment instrument model has a goodness of fit value that is feasible to use. Thus the music artworkassessment instrument model is influential or effective to be used. The application of music artwork assessment instruments is at a very high category and instruments for assessing the work process of music art are at a high category.

2003

The lack of valid, research-based methods to identify potential artistic talent hampers the inclusion of the arts in programs for the gifted and talented. The Talent Assessment Process in Dance, Music, and Theater (D/M/T TAP) was designed to identify potential performing arts talent in diverse populations, including bilingual and special education students and students who have had no prior formal arts instruction. Research results over 13 years in elementary schools in New York and Ohio provide evidence that creative and artistic potential can be assessed validly and equitably and that such assessments can offer a reliable prediction of success in rigorous arts instruction.

The evaluation of an artistic performance is the basis of any career in the world of art, and in particular in the world of music. The automatic evaluation of a performance is the basis of the work covered in this article, as we have tried (obviously in order to make it like a game) to measure the quality of a user's musical performance.

Research Studies in Music Education, 1998

Empirical Studies of the Arts, 2008

This article investigated audience judgment of performance quality in opera. On the basis of Boerner's (2004) componential framework of performance quality in opera, a first version of the “questionnaire for the perception of performance quality in music theater” was developed. This questionnaire was validated in two pilot studies with 70 and 39 graduate students in Studies 1 and 2, respectively. In Study 3, the content and the structure of spectators' judgments of performance quality in opera were examined in a field study by interviewing 145 visitors to the opera La forza del destino (Verdi) in Cologne Opera House. Conclusions for further research on reception of opera performance are drawn.

This thesis is a theoretical work that explores approaches for conceptualising and interpreting musical performance assessment practices in higher education contexts. Musical performance assessment is characteristic of higher music education, and the principal form of assessment associated with tertiary musical performance training. Although educational assessment is a ubiquitous feature of higher education around the world, it has remained a contested realm of practice for decades, reflecting competing purposes, approaches, and philosophies. Despite much theoretical advancement having been made over recent decades, assessment practices themselves have been slow to change. This is especially true in higher music education contexts where traditional approaches continue to be valorised. This situation has prompted calls for new ways of viewing assessment, which is what this research is about. This thesis describes an explorative, qualitative research project that sought to investigate meaningful ways of conceptualising musical performance assessment practices. Three main questions guided the research, each reflecting a different facet of assessment practices: 1. How can bases for achievement in musical performance work be meaningfully conceptualised? 2. How can bases of legitimation for assessment participants be meaningfully conceptualised? 3. How can bases of legitimation for assessment practices in higher music education be meaningfully conceptualised? The emphasis on legitimation in these questions reflects the theoretical positions that frame the research, including the adoption of Legitimation Code Theory (LCT), which is a sociological framework for studying social practices. The questions are underpinned by a basic view of assessment as a socially-situated practice, characterised by multiple overlapping systems of legitimation. In exploring these questions, the aim was to develop useful conceptual resources for viewing assessment practices by explicitly connecting theoretical concepts with data. In this, the intention was to produce ii theoretical ideas that could actually relate to musical performance assessment practices. To anchor this process, data were purposefully collected from a range of sources, including the academic literature, interviews with assessment participants (n=26) including both assessors and students involved in Australian higher music education, and the body of publicly available documentation that governs assessment practices in this sector. The data were analysed using a multi-strategy qualitative methodology, and the exploration of intersections between the data and concepts from LCT was the main approach by which the research questions were explored. The research has several main outcomes. The conceptual framework developed in the first part of the thesis provides a package of perspectives and resources for studying and theorising musical performance assessment practices. It situates musical performance assessment in higher education as an object of study and outlines a set of theoretical ideas than can be used to make sense of assessment practices. The latter part of the thesis develops responses to the research questions and offers theoretical resources for conceptualising various aspects of musical performance assessment practices. The main focus is on translating between concepts from LCT and aspects of substantive musical performance assessment practices. As part of this process, the later chapters of the thesis describe theoretical approaches for 1) conceptualising underlying characteristics of criteria for musical performance assessment, 2) for conceptualising how the attributes of assessment participants matter in terms of their ability to successfully participate in practices, and 3) for conceptualising and interpreting the legitimation of assessment practices themselves. Ultimately, these outcomes are starting points. Although the work described in this thesis is deliberately oriented toward the world of practice, it is nonetheless primarily theoretical, and so its main contribution is to offer points of departure for further research and/or the development of approaches for use in substantive contexts.

1) Ambos autores enaltecem a importância da vitória em uma guerra, tanto por questões de sobrevivência, como para desenvolvimento, domínio, afirmação de um povo e que para isso há a necessidade de um ótimo preparo para entrar nessa guerra, tanto no preparo de psíquico-mental dos combatentes como nas estratégias a seremutilizadas. As frases dos autores só corrobora a importância da obra de Sun Tzu para o planejamento de uma nação em um evento de tanta importância como a guerra. 2) Os mais variados motivos possíveis; econômicos, religiosos, liberdade, étnicos. Todos eles pelo fato de tentar impor um ideal suposto a uma comunidade. É difícil mensurar quais as consequências de uma guerra para uma nação. Pode ocorrerdesde efeitos trágicos que perduram até hoje (ex: Paraguai após a Guerra do Paraguai), elevação da nação a superpotência (ex: EUA após 2ª Guerra mundial). O que se pode afirmar com veemência é que mudanças drásticas ocorrerão, principalmente em âmbitos políticos e econômicos. 3) A frase sugere que de uma forma ou de outra e independente das decisões tomadas a guerra trará resultados ruins paraos que nela combatem. Isso é uma verdade pelo menos a curto prazo, entretanto diversas nações conseguem obter efeitos benéficos a longo prazo. 4) A obra cita alguns fatores essenciais do conhecimento de um general para determinar o resultado de uma guerra, dentre eles: doutrina, o tempo, o terreno, o mando e a disciplina. A doutrina significa aquilo que faz com que o povo esteja em harmonia comseu governante, de modo que o siga onde esse for, sem temer por suas vidas, nem de correr qualquer perigo.

Social Anarchism, 2004

Anarchists on the whole have not articulated any sort of coherent alternative vision of what a society not based on capitalism and the state might look like. We have produced copious amounts of political, economic, and social critiques – but a comparatively smaller amount of work has focused on developing alternatives to what we’re critiquing. Least of all has there been any clearly sketched out version of how a liberatory economy might function. This has not to say there has not been thought or work put into these subjects, which there clearly has been. But when faced with the question “I understand what you’re against, what are you for?” far too often radical activists and organizers on the whole are stymied; at best we end up mumbling something about a world of autonomous or semiautonomous communities based upon mutual aid, self-organization, and voluntary association. And those are all very well and good, and could form the basis of a liberatory society - but for many people such statements mean virtually nothing. It’s one thing to say that we want a world where people manage our own lives, the environment isn’t destroyed, and life is life desolate and alienating – but it’s another to start talking about what such might actually look like. And starting to actually create forms of cooperative practice, to re-envision utopian thinking as lived reality, is another.