“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 # 2 Date: 10/26/21
Ensemble & Repertoire: VMRC Generations Choir
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: 5 Keep making consistent and welcoming eye contact
Teacher maintains eye contact throughout the rehearsal and is out of the
throughout the ensemble!
score as much as possible.
2. Non-verbal affect; facial affect: 4 Consistency of facial affect
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is
pleasant and reflective of the mood of the piece.
3. Emotional tone, mood, humor: 4 Consistency of emotional tone—just keeping that energy
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking
voice and style of interaction is empowering, joyful and positive.
up throughout the entire rehearsal, even when the
ensemble’s energy dips.
4. Use of speaking voice: 4 Making sure I speak clearly and not too quickly!
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 speaking without resonance. Teacher does not speak over the
choir. The choir does not talk through the rehearsal.
5. Use of the room: N/A Since we’re limited in room setup option due to COVID, I
The classroom/teaching space is arranged in workstation areas. The
teacher uses it effectively throughout the rehearsal, moving around the
listed this as not applicable.
classroom to engage students in all parts of the room. All necessary
instruments, manipulatives, materials, and equipment are ready and
utilized with efficiency and competency.
6. Classroom management: 3 I can always be less choppy with my transitions; this is
Teacher has many skills that manage behaviors, transitions, and is
inspiring to their students. Teacher manages the energy of the classroom
something I really need to work on throughout my lessons.
and the students.
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
1. Prepared Rehearsal Guide: 5 Practicing my rehearsal plans even more!
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.
 “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: Increased awareness of when to increase/decrease pace
Teacher demonstrates an active, crisp tempo in rehearsals that keeps
students engaged and on task. Use of a considered vocal style, and a
4 based on ensemble engagement
practiced style is evident.
3. Direct Instruction (DI): Practicing writing more plans with DI!!
Teacher demonstrates a DI model that gives academic instruction (1a’s) in
manageable chunks, allows students to perform or discuss academic
5
content (2p, 2v) and gives reinforcements with specific related feedback
(verbal 3v/n-sr approval or disapproval).
4. Minimum of talking: 4 Eliminating unnecessary 1ds/presenting my 1as
As a result of a Direct Instruction model (DI) teacher talk is at a minimum.
“7 words of less”. Off task talking is not evident, or used as a teacher
strategy.
5. Effective rehearsal plan: 4 Making sure my scaffolding is in the right sequence/order!
Teacher has a well thought out, effective, developmentally sequenced
rehearsal plan, that is guided and informed by their rehearsal guide. The
teacher varies, departs from or adapts the plan as needed. Scaffolding is
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. It is evident that the teacher has practiced the
implementation of their plan.
5A. Effective rehearsal plan: N/A No solfege in this lesson!
Kodály Integrations

6. Statements of Goals, Rehearsal Threads, and Learning Strategies: 5 Consistently giving effective rehearsal threads and tangible
The lesson begins with a statement of goals (what music is to be
rehearsed, including measure numbers) what rehearsals threads will be
strategies
the focus of the rehearsal, and what learning strategies will be employed
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: N/A I didn’t use solfege in this lesson!
Kodály Integrations:

7. Use of models: Vocal, aural, kinesthetic, visual: 4 Practice more to ensure accuracy as much as possible!
Teacher demonstrates appropriate use of aural, kinesthetic and visual
modeling to communicate musical concepts and performance style.
4 Maintaining engagement with ensemble while modeling as
they listen!
N/a No visual modeling in this lesson!
7A. Use of models: Vocal, aural, kinesthetic, visual: I didn’t use solfege in this lesson!
Kodály Integrations:
N/A
 “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
10. Vocal Pedagogy and Breathing - Bodywork: Developing an increased awareness of ensemble breathing
Teacher develops the fundamentals of breathing and vocal production
though a kinesthetic approach to function, and teaching “how”.
4 and when to check for proper breathing throughout a
rehearsal
11. Vocal Pedagogy and Breathing - Pedagogy: Same as above next step!
Teacher develops the fundamentals of breathing and vocal production
though appropriate use of pedagogical explanations as well as watching
4
for/listening for tension and pressure.
12. Tonal Development: Consistently reminding singers to check for backspace, relieve
Teacher develops the tone of the choir on a continual basis throughout
rehearsals through attention to bodywork, vowels, placement blend, and
3 tension and sing with good vocal production habits
listening for inappropriate vocal sounds or production habits (tension,
pushing, using the speaking voice, yelling, incorrect belting technique).

13. Warm-ups: Planning more effective warmups and scaffolding

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 appropriately
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: Transitions between chunks,
The lesson is sequenced in manageable chunks that accomplish the goals,
reference the rehearsal threads and use in correlation to the “golden
4
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 N/A I didn’t use solfege in this particular lesson!
work:
Kodály Integrations
16. Learning Summary: I didn’t present a learning summary this lesson!
On a consistent basis, a summary of learning is presented in the last
several minutes of most rehearsals. The learning is summarized, and then
N/A
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: Practicing the transition between teaching and
Teacher moves between rehearsal instructions and conducting with ease,
fluency and accuracy. Teacher has several different techniques for cueing
4 conducting to make it feel more seamless.
in the choir, without counting off.
1. Behaviors of Musical Acquisition: Spending more time with my score study to be even more
Conductor demonstrates increased dedication and focus on: Listening,
aural imagery, score study, increased practice time, and mastering longer
4 effective and prepared!
pieces.
2. Basic Function Level: Kinesthetic: Maintaining good lengthening/alignment
Conductor demonstrates appropriate kinesthetic functioning, including:
4
 “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
Spine/lengthening, feet grounded/standing position, still knees, lowered
shoulder girdle, head/neck alignment, arms free and unlocked. Conductor
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: Making sure my expression is always appropriate to the
Conductor demonstrates facial affect and expression appropriate to the
piece. Conductor demonstrates appropriate eye contact, including:
5 piece!
Scanning the ensemble, checking vs. reading music, connecting to the
ensemble and making eye contact while cueing.
2B. Somatic Level: Breath: No sniffing!!!
Conductor performs and demonstrates an accurate and stable opening
breath and continued to breathe for and with the ensemble as
4
appropriate for the piece or excerpt.

3A. Technical Level: Pattern and Tempo: Getting the piece a tempo for performance!
Conductor performs and demonstrates an accurate and stable conducting
pattern appropriate for the piece or excerpt. Conductor performs and
4
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 appropriate.
3B. Technical Level: Left Hand Use, Cut-offs & Cues: Practicing more to feel more confident and comfortable
Conductor performs and demonstrates accurate, integrated and clear
coordinated use of the left hand when needed as appropriate for the piece
4 when giving the cutoffs!
or excerpt. Conductor performs and demonstrates accurate and stable
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: Really diving into the feeling and meaning of the piece while
Conductor demonstrates mastery of the material by showing musicality
and
4 I teach and conduct!
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 feeling so happy and thankful for the progress being made this semester in my teaching, planning and preparation. It was so exciting to hear the
choir sing in 4 part harmony, and really just reminded me of why I love music education so much. Next, I want to work on transitions overall
throughout my lessons—activity transitions, chunking transitions and transitions from modeling to conducting. I want those to feel less choppy and
more seamless as they lead into different parts of the lesson. Overall, I am feeling way more comfortable in front of a group of singers and am feeling
much more well acquainted with direct instruction and applying it to lessons.