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

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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: 9/21/17
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: Sometimes I try to make too many jokes, but this particular
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking voice 4
and style of interaction is empowering, joyful and positive. choir seems to enjoy it
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: Well thought out, but may have been too slow for the
Teacher has prepared a rehearsal guide in advance of teaching a piece, and 4
uses this guide to inform, pace, and sequence the learning in rehearsals. choir.
1. Pacing: I had a fast lesson plan in mind that covered short, similar
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
3 chunks all at once, but the choir wanted to move through
larger chunks, so I had to adapt.
 “ 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.

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 3 Too many 3s
approval or disapproval).

3. Minimum of talking:
As a result of a Direct Instruction model (DI) teacher talk is at a minimum. “7 3 I explain a little too much
words of less”. Off task talking is not evident, or used as a teacher strategy.
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 4 I needed to be more flexible in the moment.
evident. Teacher references past learning and lessons in current lesson. The
TIMES for each major sections of the rehearsal are clearly listed on the Once I got into the groove, I was able to carry out my original
rehearsal plan. plan in larger chunks.
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: My tone quality started out a little shaky because of nerves,
Teacher demonstrates appropriate use of aural, kinesthetic and visual 4
modeling to communicate musical concepts and performance style.
but cleared up quickly and was very well supported

7. Vocal Pedagogy and Breathing - Bodywork:

Teacher develops the fundamentals of breathing and vocal production though 4 Breathe more for them while conducting
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
listening for inappropriate vocal sounds or production habits (tension, pushing,
4 tone, but I think I could have had them do some kind of
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” 4 Already mentioned
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
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
0. Fluency:
Teacher moves between rehearsal instructions and conducting with ease,
fluency and accuracy. Teacher has several different techniques for cueing in the
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
Conductor demonstrates appropriate kinesthetic functioning, including:
Spine/lengthening, feet grounded/standing position, still knees, lowered
shoulder girdle, head/neck alignment, arms free and unlocked.
4 I could have said more than ‘good job’
Grade (1- 5) Next behaviors
I am still a little awkward with my conducting, so
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transitioning was awkward.
I know my score very well. Barely looked at it while
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conducting.
My arms needed to be out more. I am use to conducting a
choir of 4 children who respond differently to my
3 conducting than VMRC choir does. I am very close to my kids
when I conduct them, so large gestures are not appropriate
or I will hit them in the face. Need to work on it.

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 5 I smile a lot!
ensemble, checking vs. reading music, connecting to the ensemble and making
eye contact while cueing
 “ 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 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
piece or excerpt.
3 I need to be more intentional with my breaths

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 Need to get much more comfortable with cueing and cut-
excerpt. Conductor performs and demonstrates accurate and stable cut-offs 3 offs. Right now I am just keeping time and giving an opening
when needed as appropriate for the piece or excerpt. Conductor performs and breath.
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 I do know this piece very well, so I need to show the choir
nuance in the gesture with clear and precise shapings, rubato, and decisions
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the meaning through my conducting gestures.
that clarify the aural image.

PART II: FINAL COMMENTS:

I had a very specific lesson plan in mind, and had a bit of trouble adapting on the spot because I practiced this
lesson many times. I wish I had gotten the opportunity to learn for myself as to why my original plan
would/wouldn’t have worked, because that is how I learn best, but I understand why I needed to do larger
chunks in the moment. I took this into consideration for my next lesson plans and it was more successful! The
choir just wants to sing, and I should let them!
I am also pretty awkward in my conducting still, especially forcing my arms out a little more. When I conduct
the Choristers, I am about 2 ft away from them in the space because of where in the service it falls, so I refrain
from doing large gestures in fear of smacking one of them in the face. This is a good lesson for me to learn to
 “ T. E. A. R.” - Teacher Effectiveness Assessment Rubric p. 5
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved

be out more, and adapt to the choir and space in the moment because I will not be able to conduct every
choir the same way!