“ 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: Emily Wylie

T.E.A.R. - Teacher Effectiveness Assessment Rubric Date: October 24, 2019
Repertoire: The Angel Gabriel
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:
Teacher maintains eye contact throughout the rehearsal and is out of the score as 5 I used eye contact through the whole ensemble.
much as possible.
2. Non verbal affect; facial affect: 3 I had one facial affect reflecting the amount of
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is pleasant
and reflective of the mood of the piece.
thinking we were doing that day. I would like to
continue working on using more facial expressions,
even when I am thinking hard.
3. Emotional tone, mood, humor: 3 When the ensemble made an error that my pacing
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking voice and
style of interaction is empowering, joyful and positive.
caused, I was led (by Dr. V) to new strategies that
would lead to a new understanding without
judgement that I will use in future lesson plans and
teaching opportunities.
4. Use of speaking voice: 5
The speaking voice is used a mirror of the singing voice. Speaking is not too I spoke the way I would sing to the choir during this
loud, 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 lesson.
does not talk through the rehearsal.
5. Use of the room: 4 I needed to use the microphone to communicate with
The classroom is arranged in workstation areas. The teacher uses it effectively
throughout the rehearsal, moving around the classroom to engage students in all
the ensemble, but I tried to use movement to connect
parts of the room. with each section.
6. Classroom management: 3 I gave an energy of excitement, but to the point of
Teacher has many skills that manage behaviors, transitions, and is inspiring to
their students. Teacher manages the energy of the classroom and the students.
nervousness, which can be changed through the use
of time. I can continue to practice in front of a
camera before going to a group setting.
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
0. Prepared Rehearsal Guide: 5 I made the lesson guide and also wrote out
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.
information I would need on a separate page from
that rehearsal guide.
1. Pacing: 4 I followed my plan to keep the pace of the lesson
Teacher demonstrates an active, crisp tempo in rehearsals that keeps students
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 2
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
engaged and on task. Use of a considered vocal style, and a practiced style is
evident. quick, but also allowed room for personal learning as
an instructor.
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, Direct instruction for tone sets were in larger chunks,
2v) and gives reinforcements with specific related feedback (verbal 3v/n-sr
approval or disapproval). was fixed through the lesson, but will be planned
accordingly in the future.

3. Minimum of talking: 4 I was clear with what was needed, but still spoke a
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.
lot from each step where less could be said through
using the beginning of each chunk in the lesson to
explain my needs.
4. Effective rehearsal plan: 4 I scaffolded in my lesson design and through the lesson plan by
Teacher has a well thought out, effective, developmentally sequenced rehearsal
plan, that is guided and informed by their rehearsal guide. The teacher varies,
using whole-part-whole in modeling. I could have also
departs from or adapts the plan as needed. Scaffolding is evident. Teacher sequenced in a way that would not single out any individual
references past learning and lessons in current lesson. The TIMES for each part during the learning process.
major sections of the rehearsal are clearly listed on the rehearsal plan.
5 Previous lesson plans were reviewed through the use of solfege
and tone sets of the last lesson.
5 Times for each chunk of the lesson plan were listed on the
lesson design.
7. Statements of Goals, Rehearsal Threads, and Learning 4
Strategies:
The lesson begins with a statement of goals (what music is to be rehearsed, Because of the lesson plan, the goals, rehearsal threads, and
including measure numbers) what rehearsals threads will be the focus of the learning strategies were stated. There was no board to write
rehearsal, and what learning strategies will be employed in order to work the them on.
rehearsal threads and accomplish the goals (vowel singing, solfege, in what
keys, counting, count-singing, looping, etc.) This information is on the board.
8. Use of models: Vocal, Aural, kinesthetic, visual: 5 I gave models with the voice I use in private lessons.
Teacher demonstrates appropriate use of aural, kinesthetic and visual modeling
to communicate musical concepts and performance style. 3 While cueing singers, I would breath shallow-ly,
being a poor model, but would breath lowly for other
breath markings in the music.
4 I gave clear solfege to each section in question
(especially if they were having difficulty) and was
clear on my beat pattern, to give singers an idea of
where we were at in the piece.
11. Vocal Pedagogy and Breathing - Bodywork: 2 This was not something we were able to address as an
Teacher develops the fundamentals of breathing and vocal production though a
kinesthetic approach to function, and teaching “how”.
ensemble. Though I tried to give clear demonstration, I would
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 3
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
need to further address this in future classes.
12. Vocal Pedagogy and Breathing - Pedagogy: 2 This was not something I addressed as the director in
Teacher develops the fundamentals of breathing and vocal production though
appropriate use of pedagogical explanations as well as watching for/listening for
this lesson time and will work on incorporating this
tension and pressure. into my future lesson plans.
13. Tonal Development: 2 I had the opportunity to mention using correct singing posture
Teacher develops the tone of the choir on a continual basis throughout rehearsals
through attention to bodywork, vowels, placement blend, and listening for
during the lesson and I did not. I will incorporate this into my
inappropriate vocal sounds or production habits (tension, pushing, using the future lesson plans.
speaking voice, yelling, chesting, influences of popular music). 5 I modeled correct vowels and used non-verbal cues with my
mouth shape while conducting to indicate round vowels
4 I modeled the placement we would be using for this piece, but
did not consistently give cues for placement when needed for
the ensemble
3 I arranged my lesson plan for that followed my A.S.C.A.M’s
hierarchy of blending so that all voice parts would listen to
those I had deemed important. I did not, however, mention my
planning process to them so they knew to consciously listen for
the basses (for example). I will encourage myself to bring this
consciousness in future ensembles through incorporating it into
my lesson plans
4 I was listening to appropriate vocal sounds, but had no reason
to correct any voice part during this rehearsal
4 I was listening to the choir’s vocal production habits, but had
not reason to correct any voice part during this rehearsal.
19. Warm-ups: NA I did not conduct a warm-up
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 I did not conduct a warm-up
in reference to the material to be covered in the lesson itself.
21. Sequence of lesson chunks: 5 My lesson plan was broken into activity chunks with
The lesson is sequenced in manageable chunks that accomplish the goals,
reference the rehearsal threads and use in correlation to the “golden mean”
steps for each and those activities accomplished my
proportion for the given length of the rehearsal period. There is a clear goals for this rehearsal
scaffolding and sequencing present. 3 I would reference the the rehearsal threads through
my teaching only as it entailed to the specific
activity we were doing. I did not take the golden
mean proportion into account while planning
5 I sequenced my lesson to scaffold the final portion of
the first verse.
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 4
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
24. Use of solfege 5
I definitely used the correct solfege and intonation while
demonstrating/giving instruction.

25. Learning Summary: 3 Although I wrote a summary into my lesson plan, we

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
were moving too quickly for me to get to it during
give feedback on their learning and the next steps of the ensemble. this teaching experience. I will make sure to set apart
time for a learning summary despite what we may
cover during the rehearsal.
Criteria: Conducting Behaviors Grade (1- 5) Next behaviors
1. Fluency: There were some moments that I did not move
Teacher moves between rehearsal instructions and conducting with ease, fluency
and accuracy. Teacher has several different techniques for cueing in the choir,
between direct instruction and modeling quickly. I
without counting off. 4 will practice my modeling sections enough in the
future so that I may continue the fluidity of my
lesson.
0. Behaviors of Musical Acquisition: Conductor demonstrates increased I will have more opportunity in the future to bring
dedication and focus on: Listening, aural imagery, score study, increased
practice time and mastering longer pieces.
2 singers’ attention to the aural imagery. It was not
addressed in this rehearsal.
I. Basic Function Level: Kinesthetic 5 I lengthened my spine
Conductor demonstrates appropriate kinesthetic functioning, including:
Spine/lengthening, feet grounded/standing position, still knees, lowered shoulder 5 My feet were grounded where I conducted
girdle, head/neck alignment, arms free and unlocked. 4 My shoulders would sometimes raise for entrance cues.
My head and neck were aligned and my arms were free and
5
unlocked.
II a. Somatic Level: Facial Affect & Eye Contact I did not begin to use the facial expressions I outlined in my
Conductor demonstrates facial affect and expression appropriate to the piece.
Conductor demonstrates appropriate eye contact, including: scanning the
A.S.C.A.M document, however I will make a conscious effort
ensemble, checking vs. reading music, connecting to the ensemble and making 3 to while practicing (which will transfer into the classroom). I
eye contact while cueing did make eye contact with each voice section at least once
while conducting the whole ensemble.
II b. Somatic Level: Breath
Conductor performs and demonstrates an accurate and stable opening breath and With practice, I will be able to give breathing cues to the
continued to breathe for and with the ensemble as appropriate for the piece or 3 ensemble without raising my shoulders. The use of quick
excerpt. breath was correct, but the technique I used was not.
III a. Technical Level: Pattern and Tempo My conducting pattern maintained a steady beat throughout the
Conductor performs and demonstrates an accurate and stable conducting pattern 5
appropriate for the piece or excerpt. Conductor performs and demonstrates all of
changing meters.
the above criteria in a tempo appropriate to the piece or excerpt as discussed in 5 I conduced proper tempo for both the piece in context as
class. Refer to metronome marking discussed in class if appropriate. well as for the ensemble while learning the piece.
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 5
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
There was no need to mention the metronome marking I
NA
would use in the piece, so I did not.
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 excerpt. I will make a conscious effort to conduct cut-offs during
3
Conductor performs and demonstrates accurate and stable cut-offs when needed instruction time and not just for run-throughs of the piece.
as appropriate for the piece or excerpt. Conductor performs and 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 There weren’t many instances of rubato or musical decisions
4
nuance in the gesture with clear and precise shapings, rubato, and decisions that within the first verse, which we covered.
clarify the aural image.

PART II: Comments and Reflections:

I noticed that I had an overall air of nervousness while teaching. I think it may have been due to the level
of experience I have had in front of an ensemble alongside not writing what I should look for while moving
on to the next step into my lesson plan design. My energy led me to using a tempo too fast for teaching
ensembles the melodic contour of each line. I was able to correct myself, but could have taken time to begin
with, which would have given each voice part clear academic information.