Assessment Portfolio

MIDDLE SCHOOL BAND

Meredith Casey
MUSIC 512
10/14/20
 #1: Scale Olympics

Definition
This is a series of formative assessments of students’ ability to play all 12 major scales ascending
and descending at a given tempo and rhythm. Each student will earn a “medal” for each scale
they master throughout the year. By the end of the year, all students in middle school will be able
to play all 12 major scales on their instrument in the appropriate octaves.

Rationale
The ability to successfully play all 12 major scales by early middle school is incredibly useful to
building students’ confidence in reading music in all keys and ranges. By “competing” in Scale
Olympics twice a month, students will master all 12 major scales by the end of the school year
and also have opportunities to retest certain scales. This Olympics system can be adjusted for
more advanced levels with different scales, rhythms, tempos, and articulations.

Implementation
Protocol: Students will perform bi-monthly Olympic scale “games” until they have successfully
mastered all 12 major scales. Students will start with their instrument pitched scale with no
sharps or flats, then continuously move through scales adding one sharp or one flat each scale
test (ex. C major, then F, G, Bb, D, etc.). These performances can be either in person or through
video submission.
Reliability: Each scale testing will be guided by a rubric with qualifications on an exceptional
quality versus poor quality performance. Students will be given this rubric ahead of time to
practice the expectations. Since students take these assessments a minimum of 12 times a year,
there will be many opportunities to measure consistency in testing.
Validity: Rubrics for this assessment will be adjusted for specific instruments and their technical
needs. This will lead to greater accuracy and fairness in measurement. Students will also be able
to submit feedback on their performance and rubrics to increase validity.
Analysis and Adjustment: After testing off a scale, students will receive feedback from the
teacher about each element on the rubric. They will also self-assess themselves based on their
performance recording. Adjustments to this assessment may include changing the scale type,
rhythms, tempos, or articulations to extend to higher developmental levels.

Example
This is a Scale Olympics checklist assessment over a portion of the clarinet chromatic scale. It
includes audio instructions to clarify the rhythm, articulations, range, and tempo:
 #2: Seesaw Portfolio

Definition
Seesaw is a virtual classroom website that teachers can use to organize student assignments,
postings, communications, videos, and expectations. Each student has their own private or public
page that compiles all their assignments, postings, and feedback from the teacher in an electronic
portfolio. The classroom settings can be adjusted so students can collaborate or post on each
other’s pages for a more social experience. The Seesaw home page can be found at this link.

Rationale
A portfolio of a student’s music recordings, assignments, and creations allows them to keep an
organized source of their academic growth. This also increases classroom organization for the
teacher, students, and parents. Students can use this portfolio later in their music careers to
review concepts and measure their progress.

Implementation
Protocol: Students will submit recording videos, written assignments, and post discussions with
their classmates on a curriculum schedule determined by the teacher. The teacher will create
activities for students to post work to and provide feedback for each individual. Assignments and
grades can be incorporated into Seesaw or transferred to the school’s grade book database.
Reliability: This year-long portfolio will compile multiple measures of assessments and all types
of assessment. Student portfolios will be individualized by the student and guided by teacher-
posted expectations.
Validity: All student portfolios will be unique to each student’s progress, making them
individually justified. Requirements for the portfolios will be outlined by the teacher at the
beginning of the year. This will lead to greater understanding of expectations for students.
Analysis and Adjustment: At the end of the year, the teacher may choose to assign an overall
grade to the portfolios. However, since most assignments will already have a grade within the
portfolio, this final assignment will most likely be based on participation and punctuality of
submissions. Students will write an end of the year reflection on their progress by using data
from their portfolios. Any Seesaw classroom can be adjusted to fit the students’ grade, skill, and
knowledge levels, which would allow a teacher to use the same classroom for multiple years.
This can be especially useful in the music classroom since most students stay within the same
music program track.

Example
This is my Seesaw private clarinet studio I built to adapt to virtual learning during the COVID-19
pandemic:
 #3: Sightreading Bellwork

Definition
Sightreading Bellwork are short warmup excerpts posted at the front of the music room before
rehearsal each day. While students are getting set up for class, they will warmup their instrument
with this music posted on the board. When the bell rings, the whole ensemble will sightread this
composition together as a warmup chorale.

Rationale
Musical bellwork gets students engaged for class mentally and physically. It calls their attention
to the beginning of rehearsal by enforcing readiness before the conductor takes the stand. It also
warms up their instrument and their brain by individually assessing students on their ability to
read music on their own. This will build the expectation to be ready for class early, skills in
sightreading, and personal responsibility within the ensemble.

Implementation
Protocol: Ideally every day, there will be an excerpt posted on the whiteboard/projector
screen/printed on their stands 5 minutes before rehearsal begins. The excerpt can be taken from a
method book the ensemble uses such as Essential Elements, Standard of Excellence, or
Foundations for Superior Performance. Excerpts posted will be in unison and written in different
concert pitches for different instruments. At the start of class, the whole ensemble will play the
sightreading together.
Reliability: The consistency of every day bellwork will produce multiple opportunities to
sightread different types, meters, styles, keys, and rhythms of music. The whole ensemble will
approach the sightreading excerpt with the STARS method, producing the most consistent
process.
Validity: The excerpts chosen will be within the ensemble’s zone of proximal development. This
assessment can also be geared toward an objective in the lesson of the day. Sightreading success
will be based on the same rubric and self-assessment from the students, giving more accuracy in
measurement.
Analysis and Adjustment: Analysis of this assessment will include both teacher and student
self-assessment. After sightreading the excerpt as an ensemble, students will share with their
neighbor thoughts on their performance. Sharing ideas as a group will help all students improve
in their sightreading strategies and music reading. Adjustments to this assessment can include
changes in sightreading difficulty and time. The excerpts can also be composed by a student to
support music writing. The frequency of this bellwork depends on the class schedule structure
and lesson plans.

Example
This is a sample sightreading bellwork for 8th grade band (clefs may be adjusted for easier
reading):
 #4: Solo and Ensemble Performances

Definition
District or State Solo and Ensemble are yearly performances in the spring semester where
students can be adjudicated on solo or chamber ensemble repertoire. Registration for these
performances has a fee, requires the director to be a member of NAfME, and usually travel to the
performance school location within the state or district. Students receive a score based on their
performance and a state administered rubric.

Rationale
Solo and Ensemble gives students the opportunity to perform as an individual musician. This
explores high quality performance, showmanship, and musicianship skills essential to a holistic
music education.

Implementation
Protocol: Every spring semester, the director will encourage students to participate in solo and
ensemble events through solo repertoire or section chamber ensembles. Depending on the
program budget, the director can either pay for student’s registration or require the fee from
students. Additionally, depending on the program, the director can require participation from
students in the top ensemble.
Reliability: All states and districts use a state-wide rubric for adjudicating these performances.
The judges selected are usually qualified educators or performers, however this can sometimes
vary. Although much of the performance quality is subjective, the student can be prepared by
using the rubric for guidance in advance.
Validity: As long as the adjudicator uses more objective than subjective judgement from the
rubric, the grading criteria should be equally measured for each student performance. The
director can use the rubric criteria to guide students in their practice before Solo and Ensemble.
Analysis and Adjustment: Receiving a score from an adjudicator indicates the approximate
performance quality. The more valuable feedback comes from the comments of the adjudicator.
Performers can gain musical advice from professionals to improve their playing skills.
Adjustments to this process may include the variety of ensembles a school takes to contest.
Instead of solo performances, a program can create instrument choirs, chamber ensembles, or
large ensembles for adjudication. This may be more appropriate depending on the skill level of
some players or goals of a program.

Example
This is a video of the Blue Valley Southwest High School Clarinet Ensemble at KMEA State
Solo and Ensemble in 2017. Included is the rubric used for this event:
Video: https://youtu.be/UHkS36dw-jY
 #5: Composition Projects

Definition
Composition projects are writing music using software such as Finale, MuseScore, Audacity,
Garage Band, or Band Lab to compose original works or arrange others. Composition can also
be done by hand or aurally.

Rationale
Music writing is an essential component for students to understand every discipline of music
education. Individual or group compositions help students practice music making and creation
through music theory studies. This is an extensive music discipline that reaches beyond concert
ensemble performance. Composition strengthens a student’s knowledge of how, when, and why
music functions.

Implementation
Protocol: Depending on the program, students will have many opportunities for composition
whether in a music theory class or ensemble. As mentioned before, students can compose
sightreading bellwork for their classmates. Additionally, students will collaborate on semesterly
chamber ensemble arrangements and original works. These can be warmups for their instrument
section, chorales, or short pieces that express the technical knowledge of an instrument group.
The teacher will provide guidelines and requirements for these projects.
Reliability: Multiple measurements of these compositions will be taken throughout each
semester. Writing will be scaffolded from simple melodies or harmonies to full chamber writings
by the end of each semester. The teacher will provide several composition checks and lessons
throughout the semester to support the strongest understanding of expectations.
Validity: For the finished semester composition, each group of students will be assessed on a
checklist guideline provided by the teacher. To provide multiple perspectives for the most
accurate measurements, both the teacher and the group’s classmates will fill out the scoring
device after hearing or playing the composition.
Analysis and Adjustment: After teacher feedback, students will self-assess their compositions
based on the success from playing them with real people. The teacher will realize each
individual’s understanding of the functions of music through their compositions. This assessment
can be very flexible. For younger levels, students could learn songwriting as a class, compose
only aurally, improvise melodies and rhythms before writing them down, or guidelines and
requirements could be simplified. The teacher will need to determine his or her students’ current
ability to use music software to compose or arrange.

Example
This is an excerpt from a high school student’s first piano composition in a music theory course:
 #6: Error Detection Games

Definition
Error detection is the process of aurally or visually identifying mistakes or corrections. This is an
informal assessment that is used daily in the music classroom. There are multiple ways to
incorporate error detection into rehearsals in the form of games. A few of these might include
kinesthetic experiences such as body motions regarding listening, having students listen up front
to the ensemble, or moving locations for different perspectives. Think pair share, discussions,
and self-reflection are a part of error detection.

Rationale
Students must develop the skills of self-assessment in order to diagnose their personal needs both
in and outside of the classroom. Presenting error detection in classroom games gets students
engaged and excited to make their performance better. These games also give students various
tools to use in their own musical practice in problem solving.

Implementation
Protocol: Frequently during daily lessons, the teacher should include error detection questions or
games. The teacher may ask thought-provoking questions for discussion, have students
contribute their thoughts, or involve them in kinesthetic activities.
Reliability: Error detection games provide multiple measures of assessment throughout daily
lessons. This frequency allows for consistent measurement in students’ problem-solving skills.
Students will be accustomed to these frequent problem-solving activities, which makes them
more aware of high expectations.
Validity: Measurement of this informal assessment will be subjective to students and the
teacher. Success in error detection will also be measured by the problem-solving strategy the
students select. One benefit of this tool is that each student receives an individually focused
analysis of their musical success.
Analysis and Adjustment: Both the students and teacher will analyze the success of error
detection based on how the problem was diagnosed and solved. This involves the students’
recognition of the error, their knowledge on how to correct it, and the action of fixing the error.
There are hundreds of ways to practice error detection, so there are plenty of adjustments that
can be made to this assessment. Error detection can be tailored to fit any ensemble,
developmental level, or school setting.

Example
This is a video of a relay game for an ESL classroom. This activity can be adjusted to fit an
“error detection relay” by having the students team up, play a scale or technique, and pass it on
to the next person with no errors. If they hear errors, the whole team must start from the
beginning.
Video: https://youtu.be/6NkXp6qSses
 #7: Rubric Collaborations

Definition
A rubric is used as a scoring guide to evaluate the quality of students' constructed responses. This
criterion can be determined primarily by the teacher but can also involve students in the process
to make them carefully think about the qualifications of an exceptional effort. Involving students
in the grading process will encourage them to care more about their efforts and submit a higher
quality performance.

Rationale
Not only will this assessment clarify expectations for students, but it will also get students
thinking like an audience member or teacher. This mentality is crucial for growth to advanced-
level musicianship. Thinking like an educator will also give students more confidence in their
own ability to determine expectations, self-assess, and teach others their skills. Students will take
ownership of their learning through rubric creation.

Implementation
Protocol: After guidance on previous rubric assignments, students will have multiple
opportunities throughout the school year to write their own assignment rubrics. These can be
written as a class or as an individual based on the assignment. Personalized rubrics are possible
with this approach. These rubrics will be used by both the teacher and students to assess
performances, compositions, and other assessments.
Reliability: Since initial rubrics will be guided by the teacher, students will produce more
consistent expectations in their rubrics. These will be used on a weekly basis for recording
assignments, section performances, or rehearsal tasks. This will provide multiple measurement
opportunities throughout the year for maximum assessment fairness.
Validity: Each of these rubrics will outline the standards for poor, good, proficient, and
exceptional assignments. Specifications for point values and other factors will be measured the
same across all rubrics for result consistency and fairness. Students will be guided by the teacher
in selecting appropriate criteria.
Analysis and Adjustment: The teacher can use these rubric creations to analyze his or her
students’ ability to judge performances, self-assess, and describe high musicianship qualities.
Students can use these rubrics to organize their thoughts about music, comment on their peer’s
performances, and receive feedback for themselves. Rubrics can be endlessly adjusted to fit any
developmental level, ensemble, or content. Depending on the students’ developmental level, the
teacher will need to decide when it is appropriate to present students with the task of writing a
rubric.

Example
This is a sample beginning band rubric for a playing test video that students could write for
themselves with guidance from a teacher:
 Beginning Band Assessment #1:

Student Name: ________________________________________ Instrument: _______________

Date: ____________________
Instructions:
You will submit a video to our Canvas page of you performing a concert Bb scale one octave
ascending and descending. Please submit this by Friday, April 24th at 11:59 pm. Late videos
will receive half credit. In your video, please include the following:
 Full view of your body and instrument
 One octave of the concert Bb scale ascending and descending by quarter notes at
60 bpm
 Metronome playing at 60 bpm during your video

4 (Excellent) 3 (Proficient) 2 (Good) 1 (Poor)

Posture Student demonstrates Student Student Student
proper posture demonstrates an demonstrates demonstrates no
throughout the entire understanding of limited knowledge of
video. Consider: feet proper posture knowledge of proper posture
flat on the floor, back throughout the proper posture considerations
straight, shoulders video but is but is lacking in by showing poor
relaxed, sitting on the lacking in one 2-3 areas of posture
edge of the chair. area of consideration. throughout the
consideration. video.
Techniqu Student demonstrates Student Student Student
e proper basic instrument demonstrates an demonstrates demonstrates no
technique throughout understanding of limited knowledge of
the entire video. technique but is knowledge of proper technique
Consider: correct hand lacking in one of proper technique in any areas of
position, position of the areas of but is lacking in consideration.
instrument in relation to consideration. 2-3 areas of
body, articulation, consideration.
fingerings/positions,
pitch accuracy, tempo
consistency with
metronome.
Breathing Student demonstrates Student Student Student
proper breathing demonstrates an demonstrates demonstrates no
throughout the entire understanding of limited knowledge of
video. Consider shallow breathing but is knowledge of proper breathing
vs. deep breathing, lacking in one of breathing but is in any areas of
absence of tension in the the areas of lacking in 2-3 consideration.
body while inhaling or consideration. areas of
exhaling, use of the consideration.
diaphragm when
 inhaling instead of the
shoulders.
Tone Student demonstrates Student Student Student
characteristic tone for demonstrates an demonstrates demonstrates no
their instrument type understanding of limited knowledge of
throughout the video. characteristic knowledge of characteristic
Consider consistency of tone but is characteristic tone in any areas
sound, resonance, air lacking in one of tone but is of consideration.
support, and intonation. the areas of lacking in 2-3
consideration. areas of
consideration.

TOTAL: /16
 #8: Placement Auditions

Definition
Placement auditions are widely used by all music programs to organize students into skill-based
ensembles. Depending on the program, chair placements will determine what part students will
play in the ensemble. These auditions usually occur at the beginning of the school year and have
retests every semester.

Rationale
Although this assessment occurs at the beginning of the year, it is a summative assessment of a
student’s musical ability at that given moment in time. These auditions help place students in a
developmentally appropriate ensemble or chair. The focus of these auditions is to determine
appropriate literature, lessons, and techniques needing addressed for all students in a music
program. Since students grow and improve throughout the year, this summative assessment can
be taken quarterly or semesterly depending on the program.

Implementation
Protocol: Over the summer, students enrolled in a music program will be contacted about fall
placement auditions. They will be given the audition music at least one month before school
begins. Some programs choose to use the State and District Ensemble audition excerpts for the
music, and other choose excerpts from literature the director plans to play in that upcoming year.
The music selection will depend on the developmental level, socioeconomic status, and ability of
the program and students. Placement auditions can occur more than once per year, most likely
between the fall and spring semesters as well.
Reliability: Placement auditions, live or videoed, gives a snapshot of a student’s musical ability
at that moment in time. Students will be given criteria to prepare their auditions in advance, so
the results are more telling of that student’s true ability. More than one teacher will judge the
audition to account for bias or subjective information. Many programs choose to have these as
blind auditions as well to account for any bias. This will produce more consistent and clear
results.
Validity: The judges of placement auditions will be transparent in their grading based on a
checklist, rubric, or other scoring system. Video auditions may be more accurately telling of a
student’s ability because of anxiety that occurs in live auditions. The teachers will create the
most opportunity for student success because of their clear grading system, expectations, and
communication to students before auditions.
Analysis and Adjustment: The teacher can use these audition placements to determine
literature, lessons, and other content to use during the school year. Students can also use this to
self-assess their abilities in regard to other players on their instrument or voice. There are several
adjustments that could be made for this assessment. The program’s values and procedures will
determine the audition material, timing of auditions, and frequency of auditions.
Example
This the beginning of an audition packet with musical excerpts for each section to play for
ensemble auditions: