“T. E. A. R.

” - Teacher Effectiveness Assessment Rubric

Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
Revised 10-2020

JMU Practicum Observation: Name: Abigail Carter

T.E.A.R. - Teacher Effectiveness Assessment Rubric # 1 Date: 10/5/2021
Ensemble & Repertoire: VMRC Generations Choir, Keep Your Lamps
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: Knowing my script so well that I can maintain fairly
Teacher maintains eye contact throughout the rehearsal and is out of the
3.5 constant eye contact with the ensemble!
score as much as possible.
2. Non-verbal affect; facial affect: Maintaining my affect throughout lessons and reflecting
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is
pleasant and reflective of the mood of the piece.
4 the mood of the piece more clearly
3. Emotional tone, mood, humor: Maintaining my emotional tone consistently throughout
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking
voice and style of interaction is empowering, joyful and positive.
4 lessons
4. Use of speaking voice: I need to make sure I don’t dip down into my vocal fry
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
3 during lessons!
cords or speaking without resonance. Teacher does not speak over the
choir. The choir does not talk through the rehearsal.
5. Use of the room: Doing my best to use the space and social distancing as a
The classroom/teaching space is arranged in workstation areas. The
teacher uses it effectively throughout the rehearsal, moving around the
learning opportunity rather than an obstacle
classroom to engage students in all parts of the room. All necessary 4
instruments, manipulatives, materials, and equipment are ready and
utilized with efficiency and competency.
6. Classroom management: Seamlessly moving from chunks into transitions into new
Teacher has many skills that manage behaviors, transitions, and is
inspiring to their students. Teacher manages the energy of the classroom
4 activities
and the students.
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
1. Prepared Rehearsal Guide: Extra conducting practice within my lesson plan practice
Teacher has prepared a rehearsal guide in advance of teaching a piece, and
uses this guide to inform, pace, and sequence the learning in rehearsals.
5 to improve my transitions and efficiency
 “T. E. A. R.” - Teacher Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
Revised 10-2020
2. Pacing: Increasing and decreasing tempos as needed to maintain
Teacher demonstrates an active, crisp tempo in rehearsals that keeps
students engaged and on task. Use of a considered vocal style, and a
3.5 engagement
practiced style is evident.
3. Direct Instruction (DI): Knowing my script well enough to not feel as if I’m
Teacher demonstrates a DI model that gives academic instruction (1a’s) in
manageable chunks, allows students to perform or discuss academic
reading directly from it
content (2p, 2v) and gives reinforcements with specific related feedback 4
(verbal 3v/n-sr approval or disapproval).
4. Minimum of talking: Seamless transitions into looping and layering without
As a result of a Direct Instruction model (DI) teacher talk is at a minimum. 3 talking in between
“7 words of less”. Off task talking is not evident, or used as a teacher
strategy.
5. Effective rehearsal plan: Accounting for winding in my lesson plans throughout
Teacher has a well thought out, effective, developmentally sequenced
rehearsal plan, that is guided and informed by their rehearsal guide. The
appropriate scaffolding based on previous lessons and the
teacher varies, departs from or adapts the plan as needed. Scaffolding is 4 needs of the ensemble.
evident. Teacher references past learning and lessons in current lesson. Practicing even more!
The TIMES for each major sections of the rehearsal are clearly listed on the
rehearsal plan. It is evident that the teacher has practiced the
implementation of their plan. Not being so nervous when I must adapt on the spot (now
that I’ve done it, I know that I can)!
5A. Effective rehearsal plan: More seamlessly moving from warmups to solfege/ETPs to
Kodály Integrations
4 text and using solfege in the most effective ways possible

6. Statements of Goals, Rehearsal Threads, and Learning Strategies: Adding a visual component to goals, rehearsal threads
The lesson begins with a statement of goals (what music is to be
rehearsed, including measure numbers) what rehearsals threads will be
and learning strategies in the future
the focus of the rehearsal, and what learning strategies will be employed 4
in order to work the rehearsal threads and accomplish the goals (vowel
singing, solfege, in what keys, counting, count-singing, looping, etc.) This
information is on the board or has a visual component.
6A. Statements of Goals, Rehearsal Threads, and Learning Strategies: I don’t integrate the Kodaly into my initial goal
Kodály Integrations:
1 statements or rehearsal threads, and I should!

7. Use of models: Vocal, aural, kinesthetic, visual:
Teacher demonstrates appropriate use of aural, kinesthetic and visual
modeling to communicate musical concepts and performance style.
4 Continuing to model healthy singing and technique through
my demonstrations
3 Keeping my solfege consistent and accurate
3 Clear visual gestures and cues for echoing
 “T. E. A. R.” - Teacher Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
Revised 10-2020
7A. Use of models: Vocal, aural, kinesthetic, visual: 3 Again, keeping solfege modeling consistent and accurate
Kodály Integrations:
by practicing and familiarizing myself more!
10. Vocal Pedagogy and Breathing - Bodywork: Modeling clearer breaths while wearing the masks, and
Teacher develops the fundamentals of breathing and vocal production
though a kinesthetic approach to function, and teaching “how”.
2 encouraging healthy breaths with masks on

11. Vocal Pedagogy and Breathing - Pedagogy: Encouraging more healthy tone production through my
Teacher develops the fundamentals of breathing and vocal production
though appropriate use of pedagogical explanations as well as watching
2 feedback during lessons
for/listening for tension and pressure.
12. Tonal Development: Promoting good alignment, allowing moments to rest and
Teacher develops the tone of the choir on a continual basis throughout
rehearsals through attention to bodywork, vowels, placement blend, and
relax the voice whenever possible during lessons (listening
listening for inappropriate vocal sounds or production habits (tension, 3 before singing)
pushing, using the speaking voice, yelling, incorrect belting technique).

13. Warm-ups: Looking for new ways to incorporate ETPs and aspects of
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
3 our song in warmups
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.
14. Sequence of lesson chunks: Continuing to develop an understanding of chunking within
The lesson is sequenced in manageable chunks that accomplish the goals,
reference the rehearsal threads and use in correlation to the “golden
4 lesson plans and including it in my sequencing!
mean” proportion for the given length of the rehearsal period. There is a
clear scaffolding and sequencing present.
15. Use of solfege: Tone, rhythm, harmonic sets, solfege parts, part 4 Adding part work into the lesson for myself as I demonstrate
work: solfege!
Kodály Integrations
16. Learning Summary: Making transitions into learning summaries more seamless
On a consistent basis, a summary of learning is presented in the last
several minutes of most rehearsals. The learning is summarized, and then
4 and sensical
students are invited to give feedback on their learning and the next steps
of the ensemble.
Criteria: Conducting Behaviors Grade (1- 5) Next behaviors
1. Fluency: Moving between activities with effective transitions and
Teacher moves between rehearsal instructions and conducting with ease,
fluency and accuracy. Teacher has several different techniques for cueing
3 less hesitation!
in the choir, without counting off.
1. Behaviors of Musical Acquisition: Further practice and understanding of the piece through
Conductor demonstrates increased dedication and focus on: Listening,
aural imagery, score study, increased practice time, and mastering longer
4 listening, conducting and continued research
 “T. E. A. R.” - Teacher Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
Revised 10-2020
pieces.
2. Basic Function Level: Kinesthetic: Having better alignment while I model and conduct, being
Conductor demonstrates appropriate kinesthetic functioning, including:
Spine/lengthening, feet grounded/standing position, still knees, lowered
less tense in my arms overall
shoulder girdle, head/neck alignment, arms free and unlocked. Conductor 3
is aware of the C1 vertebrae and the alignment of the head/skull to the
neck and spine (Alexander Technique).
2A. Somatic Level: Facial Affect & Eye Contact: Increasing eye contact and keeping an encouraging facial
Conductor demonstrates facial affect and expression appropriate to the
piece. Conductor demonstrates appropriate eye contact, including:
3.5 affect that emulates the mood of my piece throughout
Scanning the ensemble, checking vs. reading music, connecting to the rehearsal.
ensemble and making eye contact while cueing.
2B. Somatic Level: Breath: Modeling clear and healthy breaths in a mask!
Conductor performs and demonstrates an accurate and stable opening
breath and continued to breathe for and with the ensemble as
3.5
appropriate for the piece or excerpt.

3A. Technical Level: Pattern and Tempo: 2 Overall, I need to work on my conducting in a rehearsal
Conductor performs and demonstrates an accurate and stable conducting
pattern appropriate for the piece or excerpt. Conductor performs and
context and practice more to ensure success.
demonstrates all of the above criteria in a tempo appropriate to the piece 2 Keep the dimensions of my pattern more consistent
or excerpt as discussed in class. Refer to metronome marking discussed in
class if appropriate. 2 Familiarize myself more with the tempo of the piece with
a metronome
3B. Technical Level: Left Hand Use, Cut-offs & Cues: I am happy with my cutoffs, but could use more gestures
Conductor performs and demonstrates accurate, integrated and clear
coordinated use of the left hand when needed as appropriate for the piece
overall
or excerpt. Conductor performs and demonstrates accurate and stable 2
cut-offs 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.
4. Informed Level: Artistry and Interpretation: More shaping and gestures that express the aural image of
Conductor demonstrates mastery of the material by showing musicality
and
2 the piece
nuance in the gesture with clear and precise shapings, rubato, and
decisions
that clarify, represent, and express the aural image.

PART II: FINAL COMMENTS & REFLECTION:

I am proud of my progress in lesson planning and execution! I was so nervous to be at the podium for the first two times in my life, although I felt strangely
more nervous the second time! My strengths lie in vocal modeling and solfege—it is obvious that they are the part of my lesson I practice most. I am really
proud of the way I model ETPs, solfege and text! I am also proud of my overall affect and how I present myself on the podium! I can improve my pacing for sure;
I need to read the ensemble more in terms of how they are engaging with the music to wind forward and back. I also need to continue to practice my lessons
 “T. E. A. R.” - Teacher Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
Revised 10-2020
even more so I feel comfortable enough to not completely read from the script or rely on it. I will continue to practice my conducting for the piece as well. I
could also work on giving more specific feedback in my lessons going forward.