Look-Fors Continued from page 31
Given the importance and sometimes difficulty of recognizing effective instruction during an evaluation of a music teacher, it seems appropriate to begin using rehearsal frames during the teacher evaluation process.
be evaluated. During a full class session there will be many moments when effec-
tive teachers set goals; some goals will get accomplished and some will not. All
teachers have good days and bad days of teaching, but it is unlikely that an ineffective teacher can suddenly, for the brief
length of a rehearsal frame, become effective and make an accomplished, goal-directed sample of work. (2) An import-
Resources
selected rehearsal frames does not dif-
Cavitt, M. E. (2003). A descriptive analysis of error correction in instrumental music rehearsals. Journal of Research in Music Education, 51(3), 218. doi: 10.2307/3345375
ant aspect to convey is that evaluating
fer substantially from evaluating entire
rehearsals; however, evaluating rehearsal
frames may provide a more succinct and meaningful view of a teacher’s skills.
An unintended, yet positive implica-
tion of this process happens when the teacher is watching the video multiple
times searching for rehearsal frames. During this time, a good amount of
reflection and self-assessment likely takes
place. When engaged in any type of skill building (e.g., music, sports or teaching), it is necessary to watch or listen to record-
ings of our own work. Self-reflection is an important tool for self-improvement.
Duke, R. A. (1994). Bringing the art of rehearsing into focus: The rehearsal frame as a model for prescriptive analysis. Journal of Band Research, 30(1), 78–95. Duke, R. A., & Simmons, A. L. (2006). The nature of expertise: Narrative descriptions of 19 common elements observed in the lessons of three renowned artist-teachers. Bulletin of the Council for Research in Music Education, 170, 7–19. Worthy, M. D. (2003). Rehearsal frame analysis of an expert wind conductor in high school vs. college band rehearsals. Bulletin of the Council for Research in Music Education, 156, 11–19. Worthy, M. D. (2006). Observations of three expert wind conductors in college rehearsals. Bulletin of the Council for Research in Music Education, 168, 51–61.
Evaluating music teacher effectiveness
by observing brief excerpts of instruction
may be a way to create an evaluation system for music teachers that will be
meaningful and efficient. As a result, observing recorded rehearsal frames
as a portion of teacher evaluations may ensure that evaluators are not only seeing
what they are required to observe, but also
References Cavitt, M. E. (2003). A descriptive analysis of error correction in instrumental music rehearsals. Journal of Research in Music Education, 51(3), 218. doi: 10.2307/3345375 Chapman, D. (2014). Effects of Observation Duration on Evaluations of Teaching in Secondary School Band and Choir Rehearsals (doctoral dissertation). The University of Texas, Austin, Texas.
what is important to observe.
Clements-Cortès, A. (2011). Designing an effective music teacher evaluation system (part one). The Canadian Music Educator, 53(1), 13.
understanding of how rehearsal frames
Croft, M., Glazerman, S., Goldhaber, D., Loeb, S., Raudenbush, S., Staiger, D., & Whitehurst, G. J. (2011). Passing muster: Evaluating teacher evaluation systems. The Brookings Institution. Retrieved from http://www.brookings.edu/
If you would like to gain a better
have been used in different contexts,
please consider reading the articles listed below. Although none make a connection
to music teacher evaluation, these articles
Danielson, C. (2001). New trends in teacher evaluation. Educational Leadership, 58(5), 12–15.
stand rehearsal frames and their value to
Darling-Hammond, L., Amrein-Beardsley, A., Haertel, E., & Rothstein, J. (2012). Evaluating teacher evaluation. Phi Delta Kappan, 93(6), 8–15.
provide opportunities to better undermusic education.
32 F l o r i d a
Music Director
Duke, R. A. (1994). Bringing the art of rehearsing into focus: The rehearsal frame as a model for prescriptive analysis. Journal of Band Research, 30(1), 78–95. Ovando, M. N. (2001). Teachers’ perceptions of a learner-centered teacher evaluation system. Journal of Personnel Evaluation in Education, 15(3), 213–231. Ovando, M. N., & Ramirez, A. (2007). Principals’ instructional leadership within a teacher performance appraisal system: Enhancing students’ academic success. Journal of Personnel Evaluation in Education, 20(1), 85–110. Papay, J. P. (2012). Refocusing the debate: Assessing the purposes and tools of teacher evaluation. Harvard Educational Review, 82(1), 123–141. https://doi.org/10.17763/ haer.82.1.v40p0833345w6384 Worthy, M. D. (2006). Observations of three expert wind conductors in college rehearsals. Bulletin of the Council for Research in Music Education, (168), 51–61.
Dr. DaLaine Chapman is an assistant professor of music education at Florida Atlantic University. Her research interests are music teacher evaluation and assessment, as well as the supervision of student teachers. Dr. Chapman is an active conductor/clinician, presenting at numerous clinics and conferences nationwide. Her professional affiliations include Florida Music Education Association, Florida Bandmasters Association, Texas Music Educators Association and the National Association for Music Education. She is a member of the Omega chapter of Phi Beta Mu. She holds bachelor’s and master’s degrees from Florida State University and the PhD from the University of Texas at Austin.