Middle School Orchestra Performance Checklist


Date of the Performance: Name of the Student: Correct Rest Position


Taking Bow Appropriately Smiled


Looked Up at Conductor


Looked at Other Players for Communication Looked Up at Conductor at Least Two Times Used Correct Bowing


Moved Expressively with Music Bowed at End of Performance with Smile


Specify one goal for improvement: Performance Reviewed by:


Adapted from Intelligent Music Teaching by Robert A. Duke


Measuring Affective Outcomes in Music Classes While also not straightforward, assessing students’ progress in affective objectives (e.g., attitudes expressed through observable behaviors, feelings, etc.) can be accomplished through the development of attitude scales such as Likert Scale or other similar tools. Tere are several factors that teachers should consider when creating assessment tools for measuring affective outcomes: (a) Verbal measurement, such as questionnaires and attitude scales, may not be as accurate an indication of students’ attitudes as observa- tions of students behaviors and (b) Observations of several behaviors over a longer period of time and recorded by the teacher on a regular basis may provide the most accu- rate assessment of affective set of assessments. Below is an example of the Likert Scale developed to measure students’ attitudes toward music they played in the last concert.


Table 3


Elementary School Orchestra Students' Attitude Towards the Music They Played in the Concert


Date of the performance: Name of the student:


Read the sentence and then circle the Smiley Face that best represents your feelings about the pieces we played at our last concert. Smiley Face means you agree and Sad Face means you disagree with the sentence. The Face in Between means you are feeling in between.


1. Aunt Rhode's Appetite was a really fun piece to play. 2. Pogostick was a difficult piece to play. 3. Rigaudon made me feel like dancing.


Table 4 Summary


Assessment is an indispensable part of successful instruc- tion and as such should be closely related to learning outcomes. High in frequency and low in magnitude is one of the key ingredients of assessment that aims to not only provide evidence of a student’s progress but also hopes to enhance the quality of the instruction. Both learning outcomes and assessments in music classes may appear to be a challenge because there are not many easily accessible


27


Yes Yes Yes Yes Yes Yes Yes Yes Yes


No No No No No No No No No


assessment strategies and tools in the educational domains that are so typical of music, such as psychomotor and affective domains. For that reason, as well as the need for the progression from state of compliance with assessment to state of ownership over assessment, music teachers should be aware of and willing to learn the basics of assessment theories and practices in general education so that they can confidently implement and adapt them as needed.


References


Abeles, H. F., Hoffer, C. R., & Klotman, R. H. (1994). Foun- dations of music education. New York, NY. Schirmer Books.


Cobb, S. (2004). History of assessment in the United States. Retrieved on August 25, 2015, from http://learn. midsouthcc.edu/learningObjects/assessment/histo- ry_of_assessment.pdf


Duke, R. A. (2013). Intelligent music teaching: Essays on the core principles of effective instruction. Austin, Texas: Learning and Behavioral Resources.


Te Glossary of Education Reform Retrieved on August 23, 2015 from http://edglossary.org/assessment/


Kuh, G. D., Ikenberry, S. O., Jankowski, N. A., Timothy, R. C., Ewell, P. T., Hutchings, P., & Kinzie, J. (2015). Using evidence of student learning to improve higher education. San Francisco, CA: Jossey-Bass.


Taxonomies of Educational Domains, Retrieved on August 25, 2015 from http://assessment.uconn.edu/primer/ taxonomies1.html


Wiggins, G., & McTighe. (2005). Understanding by design. Retrieved on August 25, 2015 from http://asbmb.org/ uploadedFiles/Backward%20design.pdf


Tis article originally appeared in the Voice of Washington Music Educators (Oct. 2017 Vol. LXIII/No. 1) the official pub- lication of the Washington Music Educators Association, and is used with permission.


______________________ 1


Adapted from the Assessment in Higher Education by


Heywood 2000 and Eder, Douglas J., “General Education Assessment Within the Disciplines”, Te Journal of General Education, Vol. 53, No. 2, pp. 135-157, 2004.


Dijana Ihas is an Assistant Profes- sor of Music Education at Pacific University, in Forest Grove, OR, where she teaches undergraduate and graduate courses in music education, serves as an applied viola instructor and supervises student teachers. She


is a Founding Director and Master Teacher of the String Proj- ect, the first program of its kind in the state of Oregon.


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