Teacher Evaluation & Music Education: What You Need to Know

1. Teacher Evaluation & Music Education: What You Need to Know Strategies for Assessing Student Growth in the Ensemble Setting

2. Introduction Phillip Hash, Calvin College

3. Session Overview 1

4. Legislative Review: Talking Points • All Teachers Evaluated Annually • Percentage of Evaluation to Relate to Student Growth • National, State, And Local Assessments • Evaluations vs. Seniority in Personnel Decisions • Michigan Council On Educator Effectiveness 2

5. Pilot Programs • 2012-13 Pilot • 14 districts • 4 evaluation models • Standardized tests • Local measures for non-tested subjects • Recommendations by 2013-14 school year • Urgency for Measures of Students Growth 4

6. Frameworks, Methods, Systems Used as part of Local Evaluation

7. Effectiveness Ratings & Percentage of Student Growth % of Growth in Local Evaluation Systems

8. Current Trends: Effectiveness Ratings for 2011-12

9. Teacher Ratings & Student Growth

10. Strategies Mitch Robinson, Michigan State University

11. Forms of Alternative Assessment • Performance-Based Assessment • Student Auditions • Solo/Ensemble Festivals • Critiques of Student Compositions • Coaching Jazz Improvisation • Playing Checks • Student Writing 9

12. Rating Scales & Rubrics Rating Scales (Criteria-Specific) Rubrics* Two Types • Continuous Rating Scales • Additive Rating Scales Should include: • Points that are equidistant • Four or more rating points • Descriptors that are valid and reliable 10 *From: K. Dirth, Instituting Portfolio Assessment in Performing Ensembles, NYSSMA Winter Conference, Dec. 3, 1997.

13. Rating Scales Should be: • Criteria-specific • Objective • Easy to use • Clear 11 Robinson

14. Sample Rating Scale National Standard #7: Evaluating music and music performances. 12

15. What Does A Rubric Look Like? • Features: • Scale includes (preferably) 4 rating points • Points of the scale are equidistant on a continuum • Highest point represents exemplary performance • Descriptors are provided for each level of student performance Adapted from: K. Dirth, Instituting Portfolio Assessment in Performing Ensembles, NYSSMA Winter Conference, Dec. 2, 1997. 13

16. Rubrics (cont.) • Types include: • Holistic (overall performance) • Analytic (specific dimensions of performance) • Both necessary for student assessment • Descriptors must be valid (meaningful) • Scores • Must be reliable (consistent) • Should relate to actual levels of students learning • Can be used by students for self-assessment and to assess the performance of other students 14

17. Creating a Rubric – Why Bother? • Helps plan activities • Focuses your objectives • Aids in evaluation and grading • Improves instruction • Provides specific feedback to students 15 Robinson

18. The Morning After... • Focuses student listening • Guides students to attend to musical aspects of performance • Can be done in groups • Encourages comparison and contrast judgments 16

19. Journal Keeping • Stenographer’s notebooks work best • Younger students need more directed writing assignments • Try to avoid the “pizza & pop” syndrome • Teacher feedback is essential 17

20. Implementation Abby Butler, Wayne State University

21. Planning to Assess • What aspects of student learning do you want to measure?* • Skills • Knowledge • Understanding • Decide which measurement tools best suited for outcomes to be measured • Obtain or develop measurement tools *Consult the Michigan Merit Curriculum, available online at MDOE. 18

22. Planning for Assessment • Build assessment into rehearsals • Develop activities as a context for measuring skills or knowledge • Include these activities in your lesson plans • Develop and use simple procedures for recording assessments • Laminated seating charts • Electronic gadgets (iPads, tablets, smart phones, desk computer) • Plan ahead where and how this data will be stored (filing system) 19

23. Schedule Assessments • Measure each of the identified goals several times throughout the year • Baseline measurements • Intermediate measurements (formative) • Measurement at the end • Make the following decisions before the school year begins: • Who will be assessed • How often assessments will occur • When assessments will occur • Build these assessments into your year long plan 20

24. Working with your Data • Decide how assessments will be recorded • Numbers? • Descriptive words? • Decide how you will report the results • Percentage scores with differences between beginning and end of year assessments? • Percentage of students moving from one competency level to the next? • Graphic charts, spreadsheets? 21 Butler

25. Ex: Comparison of Sight Reading Competency by Ensemble Key: B (Basic) – D (Developing) – P (Proficient) – A (Advanced) 22

26. Tips for Starting Out • Develop measurement tools over the summer • Start small by limiting • The number of students, grade levels, or ensembles assessed • The number & frequency of assessments • Build assessment into your lesson activities • Simplify recording tasks • Choose a system for assigning scores that is easy to average 23

27. Conclusion Phillip Hash, Calvin College

28. Resources • MCEE website • http://www.mcede.org/ • www.pmhmusic.weebly.com • Legislative Summary • Policy Briefs • NAfME and MISMTE position statements • MI GLCE - Music • Sample assessments in use today • This PPT • Please send examples of your assessments to pmh3@calvin.edu • Ottawa ISD – Feb. 14, 3:30pm 25

29. Responsibilities & Considerations • Design, administer, and evaluate assessments • Must be Quantitative • Rubistar4teachers.org • Same or very similar for every music teacher • Valid • Reliable (consistent) • Integrity of Process • Transparency • Record performance tests (Vocaroo.com) • Regular music staff meetings • Review assessments • Discuss/resolve issues 24

30. Questions for the Panel 26