Krathwohl’s Taxonomy of the Affective Domain
Levels of Commitment Receiving
Responding Valuing Organization Characterization by a Value Words to Be Used in Written Objectives
Student’s behavior is characterized by willingness to attend…
Student’s behavior is characterized by willingness to interact…
Student is attaching the worth or value to an object, phenomenon, or behavior.
Student considers consistency and stability of values and beliefs towards certain objects, phenomenon, or behaviors.
Student exhibit consistency and stability of values and beliefs towards certain objects, phenomenon, or behaviors
progress of every individual student and who are dedicated to making assessment more useful to their teaching. Below is a brief summary of selected assessment tools that are based on assessments in general education and are built upon an assumption that learning goals, objectives, and/or outcomes have been clearly stated.
Assessment in music and orchestra classes
As with any other academic subject, music has its standard- ized tests that can be categorized into two subgroups: (a) Music Aptitude Tests (MAP, Gordon, 1965 & 1979 as cited in Abeles, Hoffer & Klotman, 1994) and (b) Music Achieve- ment Tests (MAT, Colwell, 1969 as cited in Abeles, Hoffer & Klotman, 1994). Tese tests are usually given when music teachers and administrators want to compare skill levels of their class, school, or school district with other similar or different groups of students across the country. When music teachers are concerned with an assessment of students’ outcomes in their own classes they develop teacher-made achievement tests.
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However, as Harold Abeles, Charles Hoffer, and Robert Klotman, authors of a well-regarded music education text book titled as Foundations of Music Education pointed out: “Few music teachers consider assessment as they plan their instruction” (Abeles, Hoffer & Klotman, p. 305). Even when they do, music teachers tend to focus on easily measured cognitive objectives such as memorization of key signatures and names of composers.
Music is an academic subject that possesses a unique po- tential to educate all three parts of human being (cognitive, psychomotor, and affective) in the most balanced way, and it is important that music teachers remember to include all three educational domains in their learning objectives and assessment. Additionally, music teachers should consider measuring students’ progress not only in lower cognitive skills such as memorization and understanding, but also assessing students’ higher levels of cognition such as evalu- ation, synthesis, and creativity. Simultaneously, measuring performance skills, musical interpretation, and attitudes is indispensable part of quality assessment in music classes.
Integrating music instruction with assessments that are based on measuring tools used in general education and that are infiltrated by insights in the three above-mentioned taxonomies of educational domains may provide a useful model for music teachers who aspire to understand the
Measuring Cognitive Outcomes in Music Classes All types of formative assessment known as objective tests, including multiple-choice, matching, true-false, and short-answer (completion) tests can be adapted and will serve the purpose of measuring cognitive outcomes in music classes. Tese tests can measure large amounts of information in relatively short periods of time, but because they frequently focus on objectives at lower levels of cog- nitive processing, music teachers should creatively modify their content. Below is an example of a multiple-choice test adapted for use in high school orchestra class.
Multiple Choice Test for High School Orchestra Students on Sound Production
Below is nine-measure long excerpt from Monteverdi's Sinfonia from Orpheus (violin part):
After you observe the indicated dynamic changes answer the following questions:
1. In order to play piano dynamics indicated in the first two measures of this excerpt, your bow, in the relation to the bridge and fingerboard (soundpoint), will need to be positioned: a. In between the fingerboard and the bridge b. Closer to the bridge c. Closer to the fingerboard d. On the fingerboard
2. In order to play the crescendo indicated in measure number three, your bow will need to move: a. Slower and closer to the bridge b. Faster and farther from the bridge c. Slower and farther from the bridge d. Faster and closer to the bridge
3. If the speed of the bow doesn't change but the pressure increases, the bow should move: a. Closer to the bridge b. Closer to the fingerboard c. Stay in the same place d. Change the angle of the bow hair on the string
4. If the soundpoint doesn't change but the pressure decreases, the bow speed should: a. Stay the same b. Increase c. Decrease d. Stop entirely
Questions 3 & 4 adapted from Tone Production Quiz by Simon Fischer
http://www.simonfischeruk.com/tone%20quiz.pdf
Table 2
Measuring Psychomotor Outcomes in Music Classes Of the three domains in which learning outcomes in music classes can be placed, measuring development of psycho- motor skills has the least well-developed assessment strat- egies. Tis is unfortunate for music teachers because much of what they teach is closely related to the development of psychomotor skills. In order to compensate for this void, music teachers can creatively modify common measure- ment strategies for psychomotor skills such as checklists, rank-ordering, and rating scales. Below is an example of checklist developed to measure middle school orchestra students’ skills and behaviors in performance setting.
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