“ 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: Kathleen Gibson

T.E.A.R. - Teacher Effectiveness Assessment Rubric Date: 10/31/2019
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: Continue to work on looking up, I was looking at the
Teacher maintains eye contact throughout the rehearsal and is out of the score 3
as much as possible. score too much, creating confusion and insecurity.
2. Non verbal affect; facial affect: 4 I had a pleasant facial affect, smiling and reinforcing
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is pleasant
and reflective of the mood of the piece. positivity. Continue to show it in the eyes.
3. Emotional tone, mood, humor: 5 I had a joyful tone when speaking, creating a feeling
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking voice
and style of interaction is empowering, joyful and positive.
of comfort and safety without too much
excitement.
4. Use of speaking voice: 5
The speaking voice is used a mirror of the singing voice. Speaking is not too My speaking voice varied, allowing for attention to
loud, forced, varied and expressive. The teacher is not speaking on the cords or remain focused on me and I had a resonant sound
speaking without resonance. Teacher does not speak over the choir. The choir when both speaking and singing.
does not talk through the rehearsal.
5. Use of the room: NA
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: 3
Teacher has many skills that manage behaviors, transitions, and is inspiring to Transitions were okay, I can continue to work on
their students. Teacher manages the energy of the classroom and the clarity and succinctness in instructions for them.
students.
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
0. Prepared Rehearsal Guide: 4 I varied slightly from my direct instruction script,
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.
creating confusion for myself, but I fixed it
immediately and didn’t stray after that.
1. Pacing: 5 My pacing worked well for the choir, as we were
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
able to get through all of the chunks and didn’t
evident. dawdle on any area.
 “ 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): 4

Teacher demonstrates a DI model that gives academic instruction (1a’s) in
manageable chunks, allows students to perform or discuss academic content Good job following the script except for the variant
(2p, 2v) and gives reinforcements with specific related feedback (verbal 3v/n-sr
approval or disapproval).
at the very beginning. I can give more specific
feedback as opposed to “Good job.”

3. Minimum of talking: 4 Started off varying from the DI script, using more
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.
words than needed, but after that sticking to the
script allowed for less teacher talk and more
singing.
4. Effective rehearsal plan: 4 Scaffolding in the lesson was evident and I was able to adapt
Teacher has a well thought out, effective, developmentally sequenced
rehearsal plan, that is guided and informed by their rehearsal guide. The
the lesson as we continued farther with the lyrics than
teacher varies, departs from or adapts the plan as needed. Scaffolding is anticipated.
evident. Teacher references past learning and lessons in current lesson. The NA
TIMES for each major sections of the rehearsal are clearly listed on the
rehearsal plan.
NA

7. Statements of Goals, Rehearsal Threads, and Learning Strategies: 4

The lesson begins with a statement of goals (what music is to be rehearsed, I clearly stated my rehearsal thread and goal for the lesson,
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
however, over-explaining my rehearsal threads and using
rehearsal threads and accomplish the goals (vowel singing, solfege, in what too many words was a slight issue.
keys, counting, count-singing, looping, etc.) This information is on the board.
8. Use of models: Vocal, Aural, kinesthetic, visual: 5 Showed that I knew the entire piece by singing along with
Teacher demonstrates appropriate use of aural, kinesthetic and visual
modeling to communicate musical concepts and performance style.
each voice part and modeling the correct jumps.
4 Kinesthetic hand-signs were good, but could have been
added earlier in each repetition of the verses.
NA
11. Vocal Pedagogy and Breathing - Bodywork: 3
Teacher develops the fundamentals of breathing and vocal production though Deeper breaths need to be shown in both the body and face.
a kinesthetic approach to function, and teaching “how”.
12. Vocal Pedagogy and Breathing - Pedagogy: 3 By looking up more in the future I will be able to develop
Teacher develops the fundamentals of breathing and vocal production though
appropriate use of pedagogical explanations as well as watching for/listening
more fundamentals of breathing and listen for tension and
for tension and pressure. pressure.
13. Tonal Development:
Teacher develops the tone of the choir on a continual basis throughout
3 More focus on sitting higher in the chair will help with sound
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 3
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
rehearsals through attention to bodywork, vowels, placement blend, and volume and quality. Continue to write this down in the script!
listening for inappropriate vocal sounds or production habits (tension, pushing,
using the speaking voice, yelling, chesting, influences of popular music).
NA
NA
NA

19. Warm-ups: NA
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
NA
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.
21. Sequence of lesson chunks: 5 Chunks were manageable and clearly structured to
The lesson is sequenced in manageable chunks that accomplish the goals,
reference the rehearsal threads and use in correlation to the “golden mean”
have the most success with the choir.
proportion for the given length of the rehearsal period. There is a clear 4 More reference can be made to rehearsal threads,
scaffolding and sequencing present. showing the specific work we did that relates to
each one.
NA
24. Use of solfege 5
Solfege was accurate! One teeny mistake, but fixed
immediately.

25. Learning Summary: NA

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 to give feedback on their learning and the next steps of the ensemble.
Criteria: Conducting Behaviors Grade (1- 5) Next behaviors
1. Fluency:
Teacher moves between rehearsal instructions and conducting with ease, More fluidity can be used when transitioning from
fluency and accuracy. Teacher has several different techniques for cueing in the
4
instruction to singing, confidence is key in this.
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 Shoulder moving way too much! Choir was able to follow, but
Conductor demonstrates appropriate kinesthetic functioning, including:
Spine/lengthening, feet grounded/standing position, still knees, lowered
3 too much shoulder movement creates
shoulder girdle, head/neck alignment, arms free and unlocked. a sloppy ictus and confusion.
 “ 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. Scan the choir more, eye contact is important for positive
Conductor demonstrates appropriate eye contact, including: scanning the 3 reinforcement in a choir. Facial affect was good but can vary
ensemble, checking vs. reading music, connecting to the ensemble and making more.
eye contact while cueing
II b. Somatic Level: Breath
Conductor performs and demonstrates an accurate and stable opening breath Shown breaths but they need to be deeper. This is incredibly
and continued to breathe for and with the ensemble as appropriate for the 4
piece or excerpt. important for a good tone.

III a. Technical Level: Pattern and Tempo Poor pattern, I continuously was stopping my pattern early or
Conductor performs and demonstrates an accurate and stable conducting
pattern appropriate for the piece or excerpt. Conductor performs and
2 switching my pattern hand to my solfege hand, creating
demonstrates all of the above criteria in a tempo appropriate to the piece or confusion.
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 Left hand was mostly to the side during conducting, with some
excerpt. Conductor performs and demonstrates accurate and stable cut-offs 3
when needed as appropriate for the piece or excerpt. Conductor performs and cues. Using it to show clearer cues and cut-offs is important!
demonstrates accurate and stable cues when needed as appropriate for the
piece or excerpt.
IV. Informed Level: Artistry and Interpretation I had conducting instincts that were happening in my non
Conductor demonstrates mastery of the material by showing musicality and
nuance in the gesture with clear and precise shapings, rubato, and decisions
3 dominant hand for shaping, but this created extra movement
that clarify the aural image. and confusion for Hailey.

PART II: Comments and Reflections:

This rehearsal went okay; I could tell that my mind wasn’t completely “there” because I was filled to the brim with nerves due to the fact that
my recital was the following day. One thing that I really need to focus on is less extra movement in the shoulder when conducting—having too
much movement can cause confusion when trying to find the ictus, causing sloppy singing. The facial and vocal affect I had throughout was
nice, with variety in speech allowing for attention to remain on me. One thing I can continue to really work on is eye contact with the choir
members, as I was looking up but not creating one-on-one eye contact.