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

1
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
A.R.
JMU Student Teaching Observation: Name: Kathryn Bailey
T.E.A.R. - Teacher Effectiveness Assessment Rubric # Date: 10/12/17
Ensemble & Repertoire: VMRC Choir, Holly and the Ivy
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 Nice
as much as possible.
2. Non verbal affect; facial affect:
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is pleasant 5 I Smile a lot!
and reflective of the mood of the piece.
3. Emotional tone, mood, humor: My emotional tone was much more appropriate this time,
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking voice
and style of interaction is empowering, joyful and positive.
5 because I wasn’t as nervous. I make stupid jokes when I’m
nervous.
4. Use of speaking voice:
The speaking voice is used a mirror of the singing voice. Speaking is not too
loud, forced, varied and expressive. The teacher is not speaking on the cords or 5 Very clear and well supported
speaking without resonance. Teacher does not speak over the choir. The choir
does not talk through the rehearsal.
5. Use of the room:
The classroom is arranged in workstation areas. The teacher uses it effectively Although we must stay in one place at the microphone, I
throughout the rehearsal, moving around the classroom to engage students in
5
address all members of the choir very well
all parts of the room.
6. Classroom management:
Teacher has many skills that manage behaviors, transitions, and is inspiring to There was not much distraction from the choir, but I was
their students. Teacher manages the energy of the classroom and the
5
ready with anything.
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 5 Plan was much more suited to the choir this time!
uses this guide to inform, pace, and sequence the learning in rehearsals.
1. Pacing: Pacing still could have been a little better, but it was much
Teacher demonstrates an active, crisp tempo in rehearsals that keeps students 4
engaged and on task. Use of a considered vocal style, and a practiced style is better than last time! Even finished my plan and
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 2
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
evident. accomplished everything with 30 seconds to spare! Now I
need to figure out a way to extend my lesson so I take
advantage of all of my time!
2. Direct Instruction (DI):
Teacher demonstrates a DI model that gives academic instruction (1a’s) in
manageable chunks, allows students to perform or discuss academic content
(2p, 2v) and gives reinforcements with specific related feedback (verbal 3v/n-sr 4 Now, not enough 3s! Find a nice balance
approval or disapproval).

3. Minimum of talking: I was more successful at not explaining every little aspect
As a result of a Direct Instruction model (DI) teacher talk is at a minimum. “7 4
words of less”. Off task talking is not evident, or used as a teacher strategy. of my plan and just doing, but could go even further.
4. Effective rehearsal plan:
Teacher has a well thought out, effective, developmentally sequenced I stated my goals very clearly
rehearsal plan, that is guided and informed by their rehearsal guide. The
teacher varies, departs from or adapts the plan as needed. Scaffolding is 5 Adapted to choir when I needed
evident. Teacher references past learning and lessons in current lesson. The
TIMES for each major sections of the rehearsal are clearly listed on the
rehearsal plan.
My plan went SO successfully!
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 Did this!
rehearsal threads and accomplish the goals (vowel singing, solfege, in what
keys, counting, count-singing, looping, etc.) This information is on the board.
6. Use of models: Vocal, Aural, kinesthetic, visual: Demonstrations were very clear and with good breath support
Teacher demonstrates appropriate use of aural, kinesthetic and visual 5
modeling to communicate musical concepts and performance style.
and tone.

7. Vocal Pedagogy and Breathing - Bodywork:

Teacher develops the fundamentals of breathing and vocal production though 4 Still could work on breathing!
a kinesthetic approach to function, and teaching “how”.
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
for tension and pressure.
9. Tonal Development:
Teacher develops the tone of the choir on a continual basis throughout I took care to make sure they were singing with a supported
rehearsals through attention to bodywork, vowels, placement blend, and 4 tone, but I think I could have had them do some kind of
listening for inappropriate vocal sounds or production habits (tension, pushing,
using the speaking voice, yelling, chesting, influences of popular music). movement because they had been sitting still for a while now.
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 3
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved

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 N/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” 5 Sequence was effective!
proportion for the given length of the rehearsal period. There is a clear
scaffolding and sequencing present.
12. Use of solfege

5 Solfege was used just enough!

13. Learning Summary:

On a consistent basis, a summary of learning is presented in the last 1.5 My wrap up was very concise and to the point while
minutes of most rehearsals. The learning is summarized, and then students are
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complementing them
invited to give feedback on their learning and the next steps of the ensemble.
Criteria: Conducting Behaviors Grade (1- 5) Next behaviors
0. Fluency:
Teacher moves between rehearsal instructions and conducting with ease, I am still a little awkward with my conducting, so
fluency and accuracy. Teacher has several different techniques for cueing in the
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transitioning was awkward.
choir, without counting off.
0. Behaviors of Musical Acquisition: Conductor demonstrates increased I know my score very well. Barely looked at it while
dedication and focus on: Listening, aural imagery, score study, increased 5
practice time and mastering longer pieces. conducting.
I. Basic Function Level: Kinesthetic My arms still need to be out more! I know it is awkward
Conductor demonstrates appropriate kinesthetic functioning, including:
Spine/lengthening, feet grounded/standing position, still knees, lowered
4 now, but PRACTICE more like that, not just going over the
shoulder girdle, head/neck alignment, arms free and unlocked. cues!

II a. Somatic Level: Facial Affect & Eye Contact

Conductor demonstrates facial affect and expression appropriate to the piece. 5 I smile a lot!
Conductor demonstrates appropriate eye contact, including: scanning the
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 4
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
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
and continued to breathe for and with the ensemble as appropriate for the Breaths are better, but could still use work when combining
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piece or excerpt. with cues and cut-offs

III a. Technical Level: Pattern and Tempo

Conductor performs and demonstrates an accurate and stable conducting
4 Pattern needs to be a bit more out
pattern appropriate for the piece or excerpt. Conductor performs and Next steps vary your ‘rainbow lady’ levels more. Don’t
demonstrates all of the above criteria in a tempo appropriate to the piece or
excerpt as discussed in class. Refer to metronome marking discussed in class if just be a human metronome
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 Simultaneously doing breaths and cues and cut-offs has
excerpt. Conductor performs and demonstrates accurate and stable cut-offs 4 provided a nice challenge for me that I need to work
when needed as appropriate for the piece or excerpt. Conductor performs and through.
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
4 Intentional gestures were much better but could go further.
that clarify the aural image.

PART II: FINAL COMMENTS:

This time around, I definitely looked and felt more comfortable on the podium. I was able to respond to the
choir as they were responding to me, and that was something that was very new to me from a large group of
people. I noticed that when I was practicing my cues and breaths and cut-offs, I had no one responding to me,
so I didn’t notice my mistakes. But when I had people relying on my hands to know when to sing, I realized
that what I practiced was not the most effective way to apply the breaths and cut-offs. I know what I need to
do for next time!