“ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p.

Dr. Jo-Anne van der Vat-Chromy

James Madison University © 2011 – All rights reserved

JMU Student Teaching Observation: Name: Brandon Morris

T.E.A.R. - Teacher Effectiveness Assessment Rubric # last Date: 10/5/20
Ensemble & Repertoire: Platinum Practicum 1/3 10/2/20
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.

COLOR CODING: GREEN = GREAT; BLUE = NEXT STEPS; GRAY = AVOID

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 5 This was good, tried to look at everyone on the screen.
as much as possible.
2. Non-verbal affect; facial affect:
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is pleasant 4 Has nice facials, but can always use a little more.
and reflective of the mood of the piece.
3. Emotional tone, mood, humor:
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking voice 5 Had really great energy, didn’t feel too dull.
and style of interaction is empowering, joyful and positive.
4. Use of speaking voice:
The speaking voice is used a mirror of the singing voice. Speaking is not too Speaking voice was clear for the majority of the lesson, but
loud, forced, varied and expressive. The teacher is not speaking on the cords or 4
speaking without resonance. Teacher does not speak over the choir. The choir some words sounded scrambled based of nerves.
does not talk through the rehearsal.
5. Use of the room:
The classroom is arranged in workstation areas. The teacher uses it effectively
throughout the rehearsal, moving around the classroom to engage students in
3 I’ve read your comments and I’ll consider this for next time.
all parts of the room.
6. Classroom management:
Teacher has many skills that manage behaviors, transitions, and is inspiring Transitions moved smoothly from one activity to the next,
4
to their students. Teacher manages the energy of the classroom and the but could use more formal language.
students.
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
0. Prepared Rehearsal Guide:
Teacher has prepared a rehearsal guide in advance of teaching a piece, and 3 You looked prepared but you needed more practice.
uses this guide to inform, pace, and sequence the learning in rehearsals.
1. Pacing: 3 Time was a little too long on some activites, felt a bit
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
boring.
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p.
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
evident.

2. Direct Instruction (DI):

Teacher demonstrates a DI model that gives academic instruction (1a’s) in A good start to using direct instruction, but make sure you
manageable chunks, allows students to perform or discuss academic content 3 fully practice enough to showcase your 3’s being 3sar’s not
(2p, 2v) and gives reinforcements with specific related feedback (verbal 3v/n-sr
approval or disapproval). 3nar’s.
3. Minimum of talking: Students paid attention to you through the lesson, trying to
As a result of a Direct Instruction model (DI) teacher talk is at a minimum. “7 5
words of less”. Off task talking is not evident, or used as a teacher strategy. stay engaged which was good.
4. Effective rehearsal plan:
Teacher has a well thought out, effective, developmentally sequenced
rehearsal plan, that is guided and informed by their rehearsal guide. The The rehearsal plan you had was good, but make sure you
teacher varies, departs from or adapts the plan as needed. Scaffolding is 4
evident. Teacher references past learning and lessons in current lesson. The follow the script and don’t off script too often.
TIMES for each major sections of the rehearsal are clearly listed on the
rehearsal plan.
4a. Effective rehearsal plan:
Kodaly Integrations You really needed visuals when showcasing the structural
2
analysis and tone sets. Use visuals next time.

5. Statements of Goals, Rehearsal Threads, and Learning Strategies:

The lesson begins with a statement of goals (what music is to be rehearsed,
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
5 Goals and threads were clearly said within the lesson.
rehearsal threads and accomplish the goals (vowel singing, solfege, in what
keys, counting, count-singing, looping, etc.) This information is on the board.
5a. Statements of Goals, Rehearsal Threads, and Learning Strategies:
Kodaly Integrations:
5 They were absolutely in their good job.

6. Use of models: Vocal, Aural, kinesthetic, visual:

Teacher demonstrates appropriate use of aural, kinesthetic and visual 4 Aurally, this was good but sometimes a cue can be useful.
modeling to communicate musical concepts and performance style.
6a. Use of models: Vocal, Aural, kinesthetic, visual:
Kodaly Integrations: Make sure you wind back and start at slower tempos
3
instead of jumping right into the actual tempo.
7. Vocal Pedagogy and Breathing - Bodywork:
Teacher develops the fundamentals of breathing and vocal production though Good job using the metronome while doing the breathing
a kinesthetic approach to function, and teaching “how”.
4
exercises but try to do it at a slower tempo next time.
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p.
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
8. Vocal Pedagogy and Breathing - Pedagogy:
Teacher develops the fundamentals of breathing and vocal production though
appropriate use of pedagogical explanations as well as watching for/listening
3 Review your terminology on “singer’s breath”
for tension and pressure.
9. Tonal Development:
Teacher develops the tone of the choir on a continual basis throughout
rehearsals through attention to bodywork, vowels, placement blend, and Watch your pitches, you were flat in some places. Might be
listening for inappropriate vocal sounds or production habits (tension, pushing,
3
nerves but you got this have more confidence in pitch.
using the speaking voice, yelling, chesting, influences of popular music).

10. Warm-ups:
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
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.
11. Sequence of lesson chunks:
The lesson is sequenced in manageable chunks that accomplish the goals,
reference the rehearsal threads and use in correlation to the “golden mean”
proportion for the given length of the rehearsal period. There is a clear
scaffolding and sequencing present.
12. Use of solfege – Kodaly Integrations
Nice set of warm-ups, but be more confident in pitch it was a
4
hair flat in some places.
Visuals would’ve helped as I said before for learning about
2 tone sets. Some students left confused about tone sets and
didn’t feel confident about demonstrating tone sets.
Very good use in solfege hand symbols, but didn’t showcase
3
any repetitions to an extent in some areas.

13. Learning Summary:

On a consistent basis, a summary of learning is presented in the last 1.5 Students seem to take the learning summary well by chatting
minutes of most rehearsals. The learning is summarized, and then students are
5
and rating their experience.
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,
fluency and accuracy. Teacher has several different techniques for cueing in the
N/A Not delivered in this lesson.
choir, without counting off.
0. Behaviors of Musical Acquisition: Conductor demonstrates increased
dedication and focus on: Listening, aural imagery, score study, increased N/A Not delivered in this lesson.
practice time and mastering longer pieces.
II a. Somatic Level: Facial Affect & Eye Contact
Conductor demonstrates facial affect and expression appropriate to the piece.
Conductor demonstrates appropriate eye contact, including: scanning the N/A Not delivered in this lesson.
ensemble, checking vs. reading music, connecting to the ensemble and making
eye contact while cueing
II b. Somatic Level: Breath
Conductor performs and demonstrates an accurate and stable opening breath N/A Not delivered in this lesson.
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p.
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
and continued to breathe for and with the ensemble as appropriate for the
piece or excerpt.

III a. Technical Level: Pattern and Tempo

Conductor performs and demonstrates an accurate and stable conducting
pattern appropriate for the piece or excerpt. Conductor performs and
demonstrates all of the above criteria in a tempo appropriate to the piece or
N/A Not delivered in this lesson.
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
excerpt. Conductor performs and demonstrates accurate and stable cut-offs N/A Not delivered in this lesson.
when needed 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
nuance in the gesture with clear and precise shapings, rubato, and decisions
N/A Not delivered in this lesson.
that clarify the aural image.

PART II: FINAL COMMENTS & REFLECTION:

Overall, this was a good first session within Practicum. The energy was there and the students were very
eager to learn from you about tone sets and solfege and how they can apply it to this piece!

But many students were left still confused about what tone sets were because they’ve never used that
concept before, and it was a whole new term for them. Visuals are the key to teaching something brand new
and you should for your next practicum session give them a review of what tone sets are with a visual
presentation with examples you can do together as a class. Then, you can wind it forward and apply tone
sets back into the piece you worked on last time.