Teacher Evaluation

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Teacher Evaluation

• Abby Butler, Ph. D.
• Wayne State University

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NAfME Position Statement

• Measures of student achievement used in teacher
  evaluation must
• Be based on student achievement directly
  attributable to individual teacher, in subject
  area taught by that teacher.
• Be based on evaluation instruments that
  accurately reflect the achievements they are
  purported to measure.
• Be created to evaluate the curriculum that is
  taught, reflecting national, state, and local
  standards and curricula while using clear
  criteria known to teacher in advance.
• Be developed and applied in context of number of
  students taught and instructional time available.
• If based on growth models, take into account
  beginning level of achievement from which growth
  is expected to take place. W
• Work on a multi-year cycle to allow for
  appropriate professional development and growth
  in order to meet primary goal of helping teachers
  improve service to students.

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NAfME Position Statement (cont.)

• Successful Music Teacher Evaluation Must include
  a balanced, comprehensive assessment of the
  teachers contribution to student learning
  through multiple measures.
• These measures can and should collect information
  indicating
• Teacher practice, such as planning and
  preparation
• Teachers role in maintaining a productive
  classroom environment
• That instruction is designed to reach specified
  goals
• Teachers contribution to the school or district,
  as well as to the profession of teaching at large
• That students attain 21st century skills through
  instruction

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NAfME Position Statement (cont.)

• Successful Music Teacher Evaluation Must
• Include measures of music student achievement
  along with the above indicators, as only one
  element of a teachers evaluation. Measurements
  of student achievement should include evaluation
  in the three general areas of creating,
  performing, and responding.
• Limit the use of data measuring group outcomes
  (e.g., adjudicated ratings of large ensemble
  performances), to valid and reliable measures.
  They should form only part of a teachers
  evaluation.
• Avoid using school-wide measures other than those
  directly associated with music achievement (eg.
  measures of attendance, dropout and graduation
  rates, and/or work habits).
• Limit observation-based teacher evaluations to
  those conducted by individuals with adequate
  training in music as well as in evaluation.

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Opportunities

• Legitimize music as a core subject by providing
  concrete evidence of student learning in terms
  understandable by other educators.
• Contribute to teachers professional growth by
  identifying strengths as well as areas of
  weakness, knowledge which in turn can be used to
  develop meaningful professional development or
  other types of assistance.

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Challenges

• Diversity of programs in terms of breadth and
  depth of statewide music programs
• High numbers of teacher/student ration
• Limited contact time
• Unequal access to adequate resources, including
  materials, equipment, staffing, and facilities

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Pro-Active Strategies

• Communicate with colleagues, administration,
  and experts in music assessment
• Stay informed utilized state and national web
  sites, forums, attend workshops, read material
  from reliable resources
• Diligently collect and record data of student
  learning and evidence of your own professional
  development activities
• Avoid spreading unconfirmed information or that
  obtained through unreliable sources

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Back to the Basics
Instruction (Teaching)
Planning Preparation
Assessment
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Evidence of Effective Teaching
Activity Evidence
Planning Preparation Lesson plans Instructor created Props, teaching materials Assessment tools Curriculum
Teaching Observations of actual teaching (live or recorded) Student input (survey) Self-analysis
Assessing Variety and quality of teacher developed assessment tools Measures of student growth
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Assessing Student Growth

• Defining Terms
• Value-added
• growth
• Mediating factors
• Differences between classroom and ensemble
  settings
• Availability of valid and reliable measurement
  tools for individual vs. group growth
• Numbers of students and contact hours per week
• Lack of consistent music instruction across state
• Quantitative vs. qualitative measures
• Quantitative data is numerical (anything that
  can be counted, percentages)
• Qualitative data is in words (descriptions,
  written critiques)

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Assessment Tools
Measurement tools must provide evidence of
student learning and typically fall into two
distinct categories

• Written Assessments

• Performance Tests

• Quizzes/tests
• Worksheets
• Written reports, papers, reviews, critiques,
  essays

• Critiques of audio/video recordings of individual
  and group performances
• Performance tests used to evaluate a specific
  task
• Sight reading
• Performing or improvising on Orff instruments
• Performing solos or within a small group

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Matching Assessments with Tasks

• Types of Assessment

• Outcomes to be Assessed

• Quizzes and tests
• Academic prompts
• Performance tests and projects

• Skills
• Knowledge
• Factual
• Procedural
• Understanding (concepts, principles big
  picture)

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Measuring Skills

• Skills

• Appropriate Assessments

• Singing
• Playing instruments
• Moving
• Listening
• Composing, Improvising, Arranging
• Notating (perform, read, write -PRW)

• Checklists
• Rating scale
• Rubrics
• Worksheets
• Portfolios

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Measuring Knowledge

• Types of Knowledge

• Appropriate Assessments

• Factual
• Terminology
• Symbols (notation)
• Instruments
• Genres
• Procedural (How to)
• Audience role during concert
• Build a major scale
• Create triads

• Quizzes or tests (written)
• Worksheets
• Diagrams (flow charts, webs)

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Assessing Understanding

• Understanding

• Appropriate Assessments

• Concepts
• Principles
• Big Picture

• Questioning (divergent)
• Problem solving activities
• Projects

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Factors in Grading

• Criteria skills and knowledge
• Weighting how must weight given to each
  criterion
• Standard how grades are interpreted
• Normative grading (Bell curve)
• Criterion grading (Specified competencies
  GLCEs)
• Individual progress (Against individual baseline)

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Scheduling Assessments

• Decisions about when to assess students should be
  made in consultation with your principal
• Determine whether you will use a pre-test or
  other types of assessments to provide a baseline
  for what students can currently accomplish
• Baseline measures should be taken at the
  beginning of the year
• Determine whether measurements will be taken for
  ALL students or for certain grades
• Depending on the number of students seen, you may
  want to rotate which classes or grades are
  assessed and how often
• Remember the key is to collect multiple types of
  assessment data over time the more data
  provided, the greater the reliability

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Documenting the Evidence

• Once you have determined what aspects of student
  learning you will include (i.e. which of the MI
  GLCEs for which grades) you need to determine how
  that evidence will be documented and where it
  will be recorded.
• Documenting evaluations quantitative or
  qualitative? Rubrics, checklists, or rating
  scales? Both you and your principal must agree on
  what the numbers or words mean how they will be
  interpreted.
• Recording results simplify the number of times
  a grade or assessment is recorded. Use computer
  assisted instruments whenever possible (iPad,
  Smartboards, software programs that record
  student data i.e. Music Ace).
• When possible try to assess students while
  teaching. Laminated seating charts for recording
  performance data allow you to record data without
  interrupting active teaching and learning.

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Interpreting Results

• Must have adequate and consistent data collected
  over time.
• Establishing a baseline for comparison is
  critical.
• Comparison of results form one teacher, school,
  or district must take into consideration critical
  demographic information in order to be fair.
• Consult experts in assessment and evaluation if
  there is any question about how the results are
  being interpreted or used.

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Questions
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Examples
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• Student Attitude Towards Womens Chorale
• Please circle the appropriate number in each
  category which BEST describes your attitude
  towards being in Womens Chorale
• 5 Strongly Agree 4 Agree 3 Neutral or no
  opinion 4 Disagree 1 Strongly Agree
•  
• 1. By singing in Womens Chorale, I am able to
  experience the beauty of music. 5 4 3
  2 1
• By singing in Womens Chorale, I feel a great
  sense o f accomplishment. 5 4 3
  2 1
•  
• 3. By singing in Womens Chorale, I feel
  successful. 5 4 3 2 1
•  
• 4. By singing in Womens Chorale, I am turned
  on to music. 5 4 3 2 1
•  
• 5. By singing in Womens Chorale, I feel
  personally rewarded. 5 4 3 2 1
•  
• During rehearsals, I am attentive and pay close
  attention to the directors instructions. 5 4
  3 2 1
• I feel good about being a member of this
  ensemble. 5 4 3 2 1

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• Choir End of Year Evaluation
•  
• Thank you for your participation in Choir this
  year. I truly enjoyed the opportunity we had to
  make music together! In order for me to better
  evaluate your progress as individuals and as a
  group, please answer the following questions.
•  
• Choose one thing that you learned during Choir
  this semester that you feel contributed to your
  personal growth as a musician.
• Choose one thing that the ensemble as a whole
  learned this semester that you feel contributed
  positively toward our performances.
• Name one thing you personally would like to work
  on that you feel would enhance your musical
  skills.
• Name one thing you would like the ensemble to
  work on that would improve our overall
  musicianship.
• Please comment on the literature we performed
  this semester. Was there a particular piece you
  especially enjoyed? Do you have any suggestions
  for programming musical selections for next
  semester?
• Please share any additional suggestions that you
  feel will help bring our choir to another level.
•  

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Directors Teaching Style Please circle to
appropriate number in each category which you
think BEST describes the teaching style of your
director during rehearsals.   a. bubbly 5 4
3 2 1 quiet   b. outspoken 5 4 3
2 1 reserved   c. aggressive 5 4 3
2 1 passive   d. outgoing 5 4 3
2 1 withdrawn   e. assertive 5 4 3
2 1 soft-spoken   f. organized 5 4 3
2 1 disorganized   g. patient 5 4 3
2 1 impatient   h. Stimulating 5 4 3
2 1 dull   i. Demanding 5 4 3 2
1 easy to please   j. Enthusiastic 5 4 3
2 1 apathetic towards music towards
music   k. Enthusiastic 5 4 3 2
1 apathetic towards teaching towards teaching
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Templates Graphics Organizers

• The following templates can be downloaded from
  McGraw-Hill at http//spotlightonmusic.macmillanmh
  .com/national/teachers
• Block Organizer
• Comparison Chart
• Flow Chart
• KWHL Chart
• Prism Graphic Organizer
• Venn Diagram
• Transposition Wheel
• Web Graphic Organizer

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Graphic Organizer Charts

• Comparison Chart
• Use a Comparison Chart to identify similarities
  and differences
• The example below shows a completed chart

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Graphic Organizer Charts
Venn Diagram Use a Venn diagram to show the
shared and separate characteristics of two or
three items or ideas. Shared characteristics
belong in the overlapping areas separate and/or
unique characteristics belong in the areas of the
circles that do not overlap. Students may find
it useful to create lists of characteristics
before placing them in the appropriate areas of
their Venn diagrams. On the vertical diagrams,
there is space for students to write lists or
describe their findings.
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Performance Quiz (Piano)
Quiz 1 Scales Two octaves, hands
together, ascending and descending Keys
____________
  1 point 2 points 3 points 4 points Score
  Not Yet Successful Developing Satisfactorily Successful Highly Successful  
Fluency Student performs with many hesitations and quite a few mistakes Students performs with few hesitations and mistakes Student performs with almost no hesitations and very few mistakes Student performs with no hesitations or mistakes  
Correct Fingering Student performs with mostly incorrect fingerings Student performs with some incorrect fingerings Student performs with mostly correct fingerings Student performs with correct fingerings  
Tempo Student performs at a very slow tempo (Largo) student performs at a somewhat slow tempo (Adagio) Student performs at a moderate tempo (Andante) Student performs at a fast tempo (Allegro)  
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Resources

• Music Assessment Web Site, created by Ed Asmus
• http//www.music.miami.edu/assessment/
• Provides forms, glossary, rubrics, templates,
  software and links.
• McGraw Hill Web Site
• http//spotlightonmusic.macmillanmh.com/national/t
  eachers
• Provides links to free downloadable graphic
  organizers
• Textbook series includes worksheets, quizzes,
  tests and other tools for assessing childrens
  musical skill and understanding
• Music Ace Software, by http//www.harmonicvision.c
  om/. Among other things, it allows teachers to
• Import assessment data from earlier versions
• Export assessment data in industry-standard
  format
• Archive student and group assessment data