Administrator Check List for Music Observations
This list is meant to be supplemental to district evaluation instruments, and is not meant to be all-inclusive. We have attempted to give specific items to be observed in most music classes.
Planning and Preparation Indicators
| ______ |
The teacher has lesson plans, and the plan indicates titles of music to be covered, specific musical sections to be addressed in class, and a method of assessment indicated. |
| ______ |
The objectives of the lesson are based on the standards and benchmarks outlined in the Curriculum Frameworks for the Arts. |
| ______ |
The plan of the lesson is followed and accomplishes most of what is planned. |
Knowledge of Subject Matter Indicators
| ______ |
(Instrumental) The teacher can address fingerings (and bowings) without using reference materials most of the time. |
| ______ |
(Vocal) The teacher uses a regular system of sightreading, such as scale numbers, letters, or solfege. |
| ______ |
The teacher uses a consistent method of counting rhythms, with effective syllables. |
| ______ |
The teacher can explain the meaning of musical terms. |
| ______ |
The teacher can address problems of tuning (matching pitches between players/singers) |
| ______ |
The teacher can explain methods of improving tone quality, breath control, balance/blend within the group. |
Classroom Management Indicators
| ______ |
Effective procedures concerning use of instruments/music folders/equipment are visible. |
| ______ |
Students demonstrate knowledge and understanding of those procedures in getting instruments/music/equipment out (or putting away) and being seated, ready to play or sing. |
| ______ |
All students are engaged in the rehearsal, even when there are brief stops for corrections/re-evaluation for individuals or small groups. |
| ______ |
Organizational tasks of finding equipment, reeds, music stands do not detract from the instructional activities. |
| ______ |
Vocal teachers are aware of proper climate in the room for good vocal health.
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Techniques of Instruction Indicators
| ______ |
Technical exercises for development are included in the lesson (ie: warm-ups, breathing, ear-training) and do not exceed an appropriate amount of time in the lesson. |
| ______ |
Explanations of the teacher are clear and concise, so that as the group is stopped a correction or evaluation is given, and the rehearsal resumes. |
| ______ |
The teacher is familiar with the musical score of the selection being taught, and his/her eyes are on the class the majority of the time. |
| ______ |
If the same musical correction is needed more than once, the teacher varies the explanation using different words and concepts. |
| ______ |
The teacher can identify musical mistakes easily and quickly, and give feedback/correction as necessary. |
| ______ |
The teacher responds to the sounds of the ensemble and adjusts the instruction plan to address bad sounds, wrong notes, faulty tuning or balance immediately - working with both the “ensemble” as well as individuals. |
| ______ |
The musical literature selected is appropriate for the level of skill of the players. |
Student-Teacher Interaction Indicators
| ______ |
Students respond readily to teacher instructions. The ensemble starts and stops as indicated by the teacher without delays. |
| ______ |
Students demonstrate good posture (sitting or standing up straight with good posture for breathing) and demonstrate proper hand positions on instruments. |
Assessment Techniques Indicators
| ______ |
The teacher makes informal assessments of the students’ work, by asking for individual or small groups to perform small passages (2-8 measures). |
| ______ |
The teacher makes formal assessments of students’ work in sectional tests (quizzes), homework assignments, weekly exams, etc. |
| ______ |
The teacher includes the performance as a portion of the grade when appropriate in performance based classes (band, chorus, orchestra), using participation/performance at concerts as an indicator. |
In General
| ______ |
The sound of the musical is pleasant, even though groups vary in maturity. |
| ______ |
The various groups/sections should be playing/singing together rhythmically most of the time |
| ______ |
Musical phrasing (inflection of musical line) should be addressed in conjunction with technical/mechanical aspects of instruction. |
| ______ |
Class lessons are more than “run-throughs” of previously taught musical selections. |