presented at: the isu summer director workshops, july 10, 2012 david w. snyder making the grade:...
TRANSCRIPT
PRESENTED AT: THE ISU SUMMER DIRECTOR WORKSHOPS, JULY 10 , 2012
DAVID W. SNYDER
MAKING THE GRADE: QUALITY ASSESSMENT FOR INSTRUMENTAL
GROUPS
Before we start….from Understanding by Design (2nd edition) by Grant Wiggins and Jay McTighe
1. Identify Desired Results
2. Determine Acceptable Evidence
3. Plan Learning
Experience and Instruction
In other words, start with…
1. What will students be able to do (Behavioral Objectives)?
a. what are some acceptable behaviors to assess?
2. How will you evaluate that the students have mastered those (Assessment)? Then…
3. What activities or experiences will the students have to accomplish this?
I. Traditional ways performing ensembles assess students
A. Attendance (objective)1. Performances2. Rehearsals (laminated seating chart)
I. Traditional ways performing ensembles assess students
B. Written tests (objective) 1. Test on historical knowledge or composers for the repertoire of that grading period2. Test on theoretical/term knowledge for the repertoire of that grading period
I. Traditional ways performing ensembles assess students
C. Improvement (can be subjective) 1. Practice cards/logs
a. hard to verify2. Observation over time
a. hard to quantify and verify
I. Traditional ways performing ensembles assess students
D. Attitude (very subjective)1. What factors determine attitude? attendance? being prepared? “good behavior”? Doing extra work?
I. Traditional ways performing ensembles assess students
E. Performance (can be subjective) 1. To be more objective, grading students in performance situation requires a RUBRIC:
a. naming the taskb. defining the evaluation criteriac. describing the standards to which
results will be compared
II. Rubrics
Naming the task- a student needs to know WHAT they will be asked to do in a performance test. The most common performing tasks include: Playing music (excerpts)being worked on in class Playing scales Playing exercises out of a method book Sight reading music that contains
concepts/notes/rhythms that the student has been working on
II. Rubrics
Defining on the Criteria to be evaluated-a student further must know what specific aspects of their performance will be evaluated. Some of the most common criteria are: Tone (can be very subjective) Intonation Articulation/sticking Rhythm Note accuracy Posture/hand position Musicality (can be very subjective)
II. Rubrics
Describing standard to compare- finally, we as the evaluatorsmust know what is considered outstanding, acceptable, unacceptable,
average,poor, etc. in each of these criteria areas. This is the difficult part of
creating arubric.
o The idea is to present enough of a descriptor or exemplar to the person evaluating that their score is likely to be the same as another person who evaluates the same performance.
o The benefit of using a rubric is the standardization of performance grades AND the providing of specific feedback on the performance to the student.
Rubrics
Let’s look at some examples:
MEJ rubric
Rubrics
Let’s look at some examples:
NFHS rubric
Rubrics
Let’s look at some examples:
Additive scale rubric
Rubrics
Let’s look at some examples:
String rubric
Rubrics
Let’s look at some examples:
My beginning band rubric
III. Assessing Students of Different Abilities
A. Tiered Evaluation1. Students can choose their level of assessment in the class with guidance from director (1, 2 or 3)2. Director can set minimum limits, such as all 8th graders in JH band must be at level 23. All students are asked to do the same kind of tasks but the amount and difficulty is varied4. Assignments involve other tasks in addition to performance
III. Assessing Students of Different Abilities
A. Sample Tiered Evaluation
IV. Tracking individual improvement over time
A. Why is it good to track improvement over time?
1. it is a good way to objectively assess “effort”
2. to motivate students to accept more challenging tasks3. it helps students move beyond
comparing themselves to others4. it helps students focus on progress
towards educational goals rather than just a grade.
IV. Tracking individual improvement over time
B. Portfolios
1. Process Portfolio (Mitchell Robinson, MEJ March 1995)a. contains samples of work in various forms of completenessb. students are encouraged to reflect, revise, and re-evaluate their work contained withinc. excellent for grading students of differing ability and tracking improvementd. the teacher can add reflective writing assignments on work or performances that have been completed
2. What can be included in Portfolios?Student journals, written tests, rehearsal tapes, recordings of playing exams, ensemble rehearsal critiques, listening exercises, self-evaluations, contest scores, rough drafts and finished composition projects, etc.
IV. Tracking individual improvement over time
B. Some examples:1. critical listening
IV. Tracking individual improvement over time
B. Some examples:2. critical listening complete
IV. Tracking individual improvement over time
B. Some examples:3. tracking improvement
IV. Tracking individual improvement over time
B. Some examples:4. SmartMusic (cue 1:49)
a. there is a portfolio within SmartMusic to archive students performance tests over time.
Questions?
David W. [email protected]
This Power Point presentation can be found at:www.cfa.ilstu.edu/dsnyder/news