Transactional Analysis Journal

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Contract Grading in the College Classroom

Howard Rovics
Transactional Analysis Journal 1981 11: 254
DOI: 10.1177/036215378101100313

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 Contract Grading in the College Classroom
Howard Rovics
Abstract
Individual classroom contracts for A, B
or C level work, with flexible options for
projects and an emphasis on the quality of
the learning experience, indeed elicits the
attainment of the agreed-upon goals.
Students seem to know almost from the
onset in a course whether they are willing
to do A, B, or C level work. When asked,
students unanimouslyclaim at the beginning
of each course that they want the highest
grade possible but they appear to inhibit
themselves from achieving an optimum
grade even when the procedure for attain-
ing it is clearly stated.
I choose to discuss my speculations and
personal observations in terms of grades
mainly because these are the more tangible
and verifiable indicators that could lead to
research.
The function of dispensing grades as
mandated by the traditional university
structure may reinforce the Critical Parent
in the teacher unless steps are taken to
counteract it. I am presenting this system
of Contract Grading in response to this
problem.
When determining grades by the tradi-
tional method four parameters are con-
sidered: the term paper, tests, class parti-
cipation and attendance. Occasionally
other options arise supplementing or
supplanting the written, research oriented
term paper. I would then autocratically
determine the final grade ranging from A
through F levels. Numerous variations on
this method continue to work in most of
the classrooms that I have encountered.
A classroom contract is an individualized
plan of study based on determined require-
ments, negotiated and agreed upon
between student and teacher, similar to a
254
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therapeutic Contract. I specify three levels
of Contracts: AlB plus, BIC plus and
C/P. The grade is achieved once the Con-
tract has been fulfilled, with the teacher
assigning the higher or lower grade in each
category. The grade of P instead of C can
be elected by the student through the uni-
versity registrar. In this way grades are
treated like pay for time and effort in-
vested in the course, and not as rewardl
punishmentdevices or functions of OK-nessl
Not OK-ness.
Staggered due dates facilitate the emer-
gence of the students' true decisions re-
garding grades as they sort themselves into
the three grade level categories. Those
opting for an A must submit their Con-
tract earlier in the term and submit their
work several weeks sooner than the other
students. A commitment to present their
material during the semester is required
of them. Students opting for a B submit
Contracts by midsemester and their work
a few weeks before the end of the term.
Presentations for them remain optional.
Those opting for CIP grades can submit
their Contracts and work at any time up
to the last day of the semester. It is impor-
tant that a schedule of due dates be ob-
served, that classroom time to process
Contracts exist and that negotiations re-
main flexible.
Contract
Traditional Grading
Grades method method
1972·75 1976·79
AlB plus 46.2% 48.0%
BIC plus 29.7% 28.2%
C/P 12.3% 11.4%
Others 11.3% 12.0%
Transactional Analysis Journal
 CONTRACT GRADING IN THE COLLEGE CLASSROOM
The data was collected from grades
submitted for two types of introductory
music courses. There were eleven classes
in each group totalling 776 students. The
average class size was 35. It is significant
that grades distribute in such similar ways
in this comparison which is a study after-
the-fact, not devised as a formal experi-
ment. I am reporting on the results of a
seven year long personal experiment during
which time I changed my teaching style
drastically. A sabbatical year separates the
two, three year periods presented.
I cathect little Critical Parent, do a lot
of Nurturing, and transact Adult to Adult
with the students most of the time. I also
feel very little Adapted Child discomfort
in the classroom and have far more Free
Child fun in the more recent years.
The students turn out three to five times
the quantity of work, are free to engage in
projects that do not lend themselves to
evaluation, interact with one another far
more, generally experiencing the course as
more meaningful and related to their inter-
ests. All this for less than a 2010 inflation
in optimum grades.
The key factors in setting up Contract
criteria seem to be the insistence on student
presentations of A level work, offering
a large number of options in the form of
projects around which students can build
their Contracts, and placing an emphasis
on the value of choosing projects which
appeal to the Child, thereby appealing to
personal interests.
Before the use of Contracts in the class-
room emphasis was placed on quality, uni-
Vol. 11, No.3, July 1981
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formity of standards and content of the
students work. Since the use of Contracts
as described, emphasis is placed on the
quantity rather than quality of personal
learning experience, diversity of project
options and the process of encouraging
Autonomy. The shift in attention is from
the subject matter content to the student
learning process. This is appropriate and
desirable in the teaching of introductory
courses where, after all the papers are
written and exams passed, only the spirit of
the course and those personal experiences
it gave rise to remain.
In summary, students seem to know
almost from the outset the level of work
that they are willing to do for a course. My
personal experience indicates that the dis-
tribution of grades will fall approximately
the same way by whatever method the in-
structor uses to determine them. There are
distinct advantages to the application of
Contracts in the classroom, not the least
of which is that teaching itself can be made
easier and more enjoyable.
Howard Rovics, MM, is a Special Fields
Member in ITAA having received his
advanced training in TA and related group
processes at The Connecticut Psychotherapy
Center in Stamford. He is an associate
professor of Music in the School of the
Arts at the C. w: Post Center of Long
Island University where he is Director of
the Music Therapy Program. He is Co-
Director of The Workshops for musical
and Personal Growth and remains active
as a composer/pianistin the New York area.
2SS