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The Use of Video Self-assessment, Peer-assessment, and

Instructor Feedback in Evaluating Conducting Skills in
Music Student Teachers
Hugh Johnston
British Journal of Music Education / Volume 10 / Issue 01 / March 1993, pp 57 - 63
DOI: 10.1017/S0265051700001431, Published online: 18 December 2008

Link to this article: http://journals.cambridge.org/abstract_S0265051700001431

How to cite this article:
Hugh Johnston (1993). The Use of Video Self-assessment, Peer-assessment, and Instructor
Feedback in Evaluating Conducting Skills in Music Student Teachers. British Journal of Music
Education, 10, pp 57-63 doi:10.1017/S0265051700001431
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The Use of Video Self-assessment, Peerassessment, and Instructor Feedback in

Evaluating Conducting Skills in Music
Student Teachers
Hugh Johnston

This study examines the effectiveness of combining video self-assessment, peer-assessment,

instructor feedback, and the use of a Conductor Peer/Self Evaluation form, in the
instruction of conducting gestural technique. Twenty-five P.G.C.E. music students from
the University of London Institute of Education were videotaped while conducting.
Concurrently, they were being assessed by a peer, and given feedback by the instructor. The
peer and the conductor reviewed the videotape and determined three areas of strength and
three areas that need improvement in the conductor gestural technique. The experimenter
tabulated the results and surveyed the group as to the effectiveness of the teaching process.
Results indicate that the instructional process was effective, and the inclusion of peerassessment helped to present a more accurate view of each conductors skills.

Aesthetic conducting constitutes a synthesis of technique and artistry in a way that

transforms musical meaning into gesture. The conductor's gestural representation of
the score ensures an expressive musical performance, while at the same time providing
movements that facilitate accurate singing or playing. The combination of expressive
and technical gestures into a single form of non-verbal communication to an ensemble
should be the goal of every conductor.
The conductor of an educational ensemble is in all meanings of both words a
'conductor' and an 'educator'. He/she is responsible for the musical development of
the members of an ensemble, and at the same time responsible for communicating an
interpretation of the music, and creating an artistic performance. Conducting gesture
is therefore fundamental to aesthetic education through performing music. Conductor/
educators must possess gestural conducting skills that are both technically correct, and
able to express the artistic qualities of music through symbolic transformation. Music
education students need to be competent conductors, they need to be aware of the
importance of conducting in music education, and need to be cognizant of methods to
assess and improve their conducting technique. This study examines the use of video
self/peer-assessment and instructor feedback to those ends.

(i) Related Research

The videotape recorder has been employed in higher education institutions and in
teacher training to enable students to watch and assess their own actions. McAleese
(1984) analyses the effects of' self-confrontation' as student teachers watch videotape
recordings of their own teaching practice. A similar study at The University of Leeds
(1990) uses video recordings of student teachers for both the student, to reflect upon
their own practice, and for experienced teachers, in order to find out how they respond
to varying teaching styles. And Hanson (1990) evaluates the use of the video medium
B. J. Music Ed. (1993) 10, 57-63

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Instructor Feedback for Music Student Teachers Hugh Johnston

for professional interpersonal skills training. In this study the students were asked to
analyse their own questioning procedure:
Most students liked this approach because analysing their own performance was
much more involving than observing a skilled model, (p. 17).
Videotaping seems particularly appropriate for studying conducting behaviour,
where in recent years its application has become widespread. In one study (Yarbrough,
1975) videotaping is used to study conductor magnitude and subsequently
(Yarbrough, Wapnick, & Kelly, 1979) compare the effectiveness of instructor feedback
versus observation form feedback on the acquisition of basic conducting skills. Witt
(1986) videotaped 48 orchestra and band classes in her study on the use of class time
and student attentiveness in music rehearsals.
Other studies (Price, 1983; Grechesky, 1985) examine verbal and non-verbal
conducting behaviour. Price uses videotape recordings to determine the number of
students off task, conductor eye contact, and time spent in performance versus nonperformance. The Grechesky study examines the relationship between conducting
behaviour and expressive performances. Eleven bands designated as 'musical' were
videotaped and conducting behaviours were observed. Implications of the findings of
this study will be examined later in the paper.
The employment of the videotape recorder in the instruction of conducting
technique is also being studied. Fleming (1977) measures the effect of a conducting
guided practice method and video self-assessment on the development of students'
conducting skill. The results of this study indicate that guided practice and video
feedback are beneficial for skill acquisition and the practice behaviour of students.
Yarbrough (1987) compares the effectiveness of two types of video self-assessment;
first, written self-evaluative critiques; and second, self-observation using a prescribed
observation form. The instruction and observation of skills is broken down into eight
categories: beat pattern, preparations, releases, tempo, eye contact, dynamics, cueing,
and style. The data shows that students give themselves higher ratings during selfobservation. In the written critiques 'students appeared to be more disapproving than
approving of themselves and few instructional statements were made' (p. 187).
Yarbrough finds this low frequency of self-instructional statements disappointing.
The study does show however, that immediate reinforcement through self-assessment
is a successful way to teach conducting skills, and that:
There are many skills to be learned in order to be an effective conductor/educator
who can preside over a rehearsal that will provide a rich, aesthetic experience for
student performers. Separating these skills may be the most efficient way to teach
these behaviours, (p. 189)
Videotaping provides the opportunity for immediate self-analysis and it has proven
to be very successful in the instruction of conducting technique. Many studies
(Yarbrough, et al., 1979; Fleming, 1977; Yarbrough, 1987) examine conductor selfassessment through the use of self-video analysis. Some of these studies (Yarbrough,
1987) provide a detailed observation form, others compare self-assessment to
instructor feedback (Yarbrough, et al., 1979).
The purposes of this study are twofold. First, to study the effectiveness of video selfassessment, peer-assessment, instructor feedback, and a Conductor Peer/Self
Evaluation Form as a method of teaching and assessing conducting for P.G.C.E.
(secondary) music education majors. The conducting Peer/Self Evaluation form is
designed to highlight each conductor's areas of strength and areas which need
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Instructor Feedback for Music Student Teachers Hugh Johnston

Example 1
Conducting Peer/Self Evaluation
Name
Evaluator:
Self A
Peer A
1. Beat Pattern
Accuracy
Clarity
Style
Time changes
3. Dynamics
With beat
w/ left hand
Other
5. Starting
7. Fermatas
9. Leadership
11. Is there a general sense of
Meaning in the conducting
Gestures
Conductor's Strengths
1.
2.
3.

Selection
Date
2. Face/Body
Eye contact
Expression
Posture
Idiosyncrasies
Excessive movement
4. Cueing
Left hand
Eyes
Mouth
6. Releases
8. Tempo Changes
10. Non-Verbal Communication
12. Score Prep, (peer only)

Areas needing improvement

1.
2.
3.

improvement in regards to gestural technique. Special emphasis will be placed on

determining the effectiveness of the combination of self and peer-assessment with post
graduate music majors.
The second purpose of this study is to analyse the results of the Conducting

Peer/Self Evaluation forms in terms of the strengths and areas that need improvement
in this P.G.C.E. class. The validity of these results will be examined and some
conclusions will be drawn.

(ii) Procedures
Twenty-five P.G.C.E. students from the University of London Institute of Education
participated in this three day study that was spread over three weeks. The experimenter
was the instructor for this conducting 'mini-course' which was designed to improve
conducting skills, and to provide ideas to the students concerning conducting in
education. The students' conducting abilities ranged considerably, from those with
very little experience to those who have conducted many performances. All the
students were experienced musicians.
The aims of the first day consisted of giving everyone the opportunity to conduct,
and trying to pin-point areas of strength and areas which need improvement in each
conductor's gestural skill. The students were appointed a conducting partner by
randomly pairing them with another member of the class. The conducting partners
served as peer-evaluators for each other. Each student was then videotaped while
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Instructor Feedback for Music Student Teachers Hugh Johnston

Example 2
Conducting Workshops Survey

Circle the number which most describes your answer to each question:
1
2
3
4
5
strongly
disagree
uncertain
agree strongly
disagree
agree
1. It was useful watching myself on videotape.
12 3 4 5
2. It was helpful to get another viewpoint through
12 3 4 5
the use of peer assessment.
3. Assessing my own strengths and weaknesses
12 3 4 5
was enlightening.
4. The instructor feedback was helpful.
12 3 4 5
5. It was useful using the conductor evaluation
12 3 4 5
form as it brought to my attention the many
areas of conducting skill.
6. I found evaluating my peer useful in my own
12 3 4 5
conducting development.
7. The videotaping, peer and self evaluation, and
12 3 4 5
instructor feedback accurately identified areas
of my conducting skill that need work.
8. The skills of conducting come naturally and do
12 3 4 5
not need to be taught.
9. I feel ready to conduct a school choir,
12 3 4 5
orchestra, or band.
10. Comments:
conducting a choral piece for five to seven minutes. During the videotaping the
instructor gave feedback to the conductor, and the conducting partner (peer) evaluated
the conductor on the Conducting Peer/Self Evaluation form (see Example 1). At the
completion of the taping session, the conductor and the peer viewed the videotape, at
which point the conductor was asked to complete a Conductor Peer/Self Evaluation
form. The peer and the conductor were free to discuss the strengths and areas that
need improvement in the conductor's gestural technique. The Conducting Peer/Self
Evaluation forms were collected by the experimenter and the areas of strength and the
areas which need improvement were categorized and tabulated.
At the end of session 3, the students were surveyed as to the effectiveness of the
teaching and assessing methods used on the first day (see Example 2). The students
were asked to assess the conducting workshops themselves, in regards to the
usefulness of videotape assessment and self/peer evaluation. The examiner collected
21 usable surveys and analysed the results.
The examiner also reviewed the videotapes to both look at the influence of the
instructor feedback on the peer assessment, and to check the reliability of the
Conductor Peer/Self Evaluation form findings.

(iii) Results
The results of the 21 Conducting Workshop Survey forms indicate that there is a high
level of agreement that the teaching process and assessment method employed on the
first day was effective. The survey demonstrates that the majority of students found
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Instructor Feedback for Music Student Teachers Hugh Johnston

observing themselves on videotape was useful in identifying and assessing both their
strengths and areas of their conducting skills which need improvement. The use of
peer evaluation was helpful for two reasons: firstly, it provided each conductor with
another viewpoint, different to that of the instructor, and secondly, each peer, in
observing a fellow conductor, was allowed more insight into different areas of
conducting skills through the evaluation process itself. This particular issue elicited
many interesting comments regarding the use of peer assessment from the students.
Four such comments are as follows:
(a) Drawing on students' knowledge was very useful and the opportunity for
experimentation helped us to work through difficulties.
(fc) I learned a great deal by watching other people conduct. It made me aware of the
problems of conducting and helped my skills develop.
(c) Watching other people's good habits and mistakes was an eye-opener.
(d) I learned a lot from evaluating other people.
Furthermore, the survey shows that the evaluation form helped bring to their
attention areas of conducting skills of which they were not previously aware, which in
turn helped them improve and advance their own conducting development.
The second part of this study dealt with the Conductor Peer/Self Evaluation Form.
Based on the responses to this form, the instructor was able to ascertain the student's
strengths and weaknesses.
This group demonstrated consistent strength in the areas of beat accuracy and
leadership. The use of the left hand, beat style, and eye and facial expressions, were
seen to be areas that need improvement in many of the students, gestural technique.
Analysis of the Conductor Peer/Self Evaluation forms also reveal that the self
assessments were more critical than the peer assessments. Each statement on the
evaluation forms was classified as being either positive (reflecting a conductor
strength), or negative (reflecting an area that needs improvement). Data from the selfassessment shows that 60% of their statements were negative and 40% positive,
revealing that students were more critical of their own conducting skills. The peer
assessments, however, contain more statements that are approving than disapproving
with 65 % positive and 35 % negative.

(iv) Discussion
The results of this study indicate that video self-assessment, peer-assessment, and
conductor feedback provide an effective process of conducting instruction. Peerassessment proves particularly useful as it provides a less critical, but often very
constructive third opinion. The peer-assessment in this study was carried out by postgraduate music education students, and hence, may be considered a reliable value
judgement. The peer was able to watch and evaluate the conducting live, and then give
instant feedback as the tape was reviewed with the conductor.
As well as providing valuable assessment, peer involvement maintained an active
interest among the students in the learning process. So often in conducting classes,
students lose interest after they have had their few minutes on the podium. Each
student in this study acted as a conductor, a self-evaluator, a live peer-evaluator, and
a video peer-evaluator. The results of the survey do indicate that although the students
thought it helpful to get another viewpoint through peer-assessment, they were more
uncertain as to whether assessing their peers actually helped their own conducting
development. The comments from the survey do indicate, however, that some of the
students found it to be a positive learning experience watching and evaluating their
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Instructor Feedback for Music Student Teachers Hugh Johnston

peers. As potential music educators, this activity also served to provide the students
with more experience dealing with live performance assessment.
The video self-assessment was judged to be useful by the students. This supports
previous research on conducting instruction which advocates the use of video playback as a means of reinforcement and self-assessment. The comments on the
conductor's self-evaluation forms were very critical (60% negative, 40% positive)
supporting Yarbrough's (1987) findings, that students are more disapproving than
approving of themselves. This may have resulted from the conductor's uneasiness at
mentioning positive attributes concerning themselves, or from feeling that it was
unnecessary to identify strengths.
The Conductor Peer/Self Evaluation forms used in the self-assessment did manage
to bring the many areas of conducting skill to the students' attention. The form was
designed to move from the more technical aspects of conducting in areas 1 to 8 (see
Example 1) to the expressive and holistic aspects of conducting in areas 9 to 12. This
was done with the idea, that conducting can be broken down into a series of skills, but
its effectiveness can only be measured by examining the bodily communication as a
whole.
About half of the self and peer-evaluators had more trouble responding to areas
9-12, but there were a number of very insightful answers dealing with many
expressionist aspects of musical meaning such as: mood, emotion, expression, and
portraying the meaning of the words through gestures. The variety of responses to
these questions reflect the varied conducting skill levels in the class.
The instructor feedback proved important in this study as well, and usually took the
form of identifying problems of technique in each conductor. From reviewing the
tapes it appears that the instructor feedback had only a small influence on the peer and
self-assessments. The instructor, in this case, was focusing on one or two problem
areas whereas the peer and self-assessments were attempting to look at the complete
conducting picture.
Lastly, the survey indicates that the students felt the videotaping, peer and selfevaluation, and instructor feedback accurately identified areas of conducting technique
that need improvement. These areas include the use of the left hand, beat style, and
the use of eyes and facial expression. The degree of validity of these findings was not
empirically measured, as that was not the primary aim of this study. However, the
instructor does agree that these are areas that need improvement in these conductors,
but would add to the list, starting, cueing, and treatment of pauses.
It is interesting to note that the three most frequent areas needing improvement
identified by the student - left hand, beat style, and eyes/face - have more to do with
the expressive aspects of conducting than with the technical; although admittedly the
left hand may be used for both technical and expressive gestures. Elizabeth Green
(1987) states that 'the left hand has its own eloquent language to speak and it should
eventually be trained for independent actions' (p. 71). Grechesky (op. cit) in his study
to determine elements of expressive conducting behaviour, found that facial expression
and use of the left hand had positive results with respect to creating musical
performances.
The results of this study by no means conclude that P.G.C.E. students are lacking
expressive conducting skills. On the contrary, many of the students produced very
musical performances through their expressive gestures. There is, however, a large
disparity in conducting skills among members of this class, and many of these students
will be directing school ensembles in the years to come. Some members of this class
have the expressive and technical skills necessary to ' transform musical meaning into
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Instructor Feedback for Music Student Teachers Hugh Johnston

gesture', others will have to work very hard to improve their skills if they hope to be
effective.
Conducting skills should be stressed in undergraduate music education degrees as
should the importance of good conducting in performing aspects of music education.
Aesthetic conducting requires practising individual skills, assessing progress, and
unifying the technical and expressive elements of the gestures. The combination of
video self-evaluation, peer-evaluation, and instructor feedback appears to be an
effective teaching and assessing method at the P.G.C.E. level. This method has the
potential to revitalise and expand upon existing conducting skills, and lay the ground
for continued self-improvement.

References
R. (1977) The effect of guided practice materials used with the videotape recorder in
developing choral conducting skill. Unpublished Doctoral dissertation, Florida State
University.
GRECHESKY, R. (1985) An analysis of nonverbal and verbal conducting behaviours and their
relationship to expressive musical performance. Unpublished Doctoral dissertation, The
University of Wisconsin-Madison.
GREEN, E. (1987) The Modern Conductor. Englewood Cliffs: Prentice Hall.
HANSON, E. (1990) The role of interactive video technology in higher education: Case study and
proposed framework. Educational Technology, 30 (9), 13-21.
MCALEESE, R. (1984) Video self-confrontation as microteaching in staff development and
teacher training. In Ortrum Zuber-Skerrit (Ed.), Video in Higher Education. London:
Kogan Page.
PRICE, H. (1983) The effect of conductor academic task presentation, conductor reinforcement,
and ensemble practice on performers' musical achievement, attentiveness, and attitudes.
Journal of Research in Music Education, 31 (4) 245-57.
University of Leeds (1990) Using Video-Recording for Teacher Professional Development.
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WITT, A. (1986) Use of class time and student attentiveness in secondary instrumental
rehearsals. Journal of Research in Music Education, 33 (1), 34-42.
YARBROUGH, C. (1975). Effects of magnitude of conductor behaviour on students in selected
mixed choruses. Journal of Research in Music Education, 23 (2), 13446.
YARBROUGH, C , WAPNICK, J. & KELLY, R. (1979). The effect of videotape feedback on
performance, verbalization and attitude of beginning conductors. Journal of Research in
Music Education, 27 (2), 103-12.
YARBROUGH, C. (1987) The relationship of behavioural self-assessment to the achievement of
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FLEMING,

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