10 Matching Annotations
  1. Jul 2019
    1. A variety of educational taxonomies have been adopted by districts and states nationwide. Examples of widely used taxonomies include but are not limited to Bloom’s Taxonomy of Educational Objectives;23 [ 23] Bloom’s revised Taxonomy for Learning, Teaching, and Assessing;24 [ 24] Marzano and Kendell’s New Taxonomy of Educational Objectives;25 [ 25] and Webb’s Depth of Knowledge Levels.26 [ 26] Using educational taxonomies to facilitate the development and guide the organization of learning objectives can improve content appropriateness, assessment effectiveness, and efficiency in learning and teaching.

      Bloom's Taxonomy

    2. Choice of strategies is closely linked to actual, perceived needs as the rehearsal unfolds.”10 [ 10]

      This is very important to understand! Any rehearsal in music can and should be pre-planned with as much details as possible, but it will always have to be flexible, according to the needs of those problems that occur during the rehearsal. It's a constant doing, listening, evaluating, correcting, doing it again ... Music itself is a Teacher!

    3. How you track student progress can make a difference in their learning and your teaching.

      I will have to develop my own assessment strategies - formative and summative.

    1. Performance assessment does not have to be a time-consuming ordeal; it is a great way to assess our students' skills. It is essential to create a rubric that is simple, quick, and objective. This article discusses the process of creating a rubric as well as showing a rubric used by the author in her general music classroom for several years. Differences between assessment and evaluation are also mentioned.

      How to create a rubric for performance assessment?

    1. FIGURE 5 Self-Assessment Analytic Qualitative RubricDirections: Answer each question by circling the most accurate answer.1. I try to watch the music and the director at the same time. I can do this by sitting upright and holding my music at chest height.Always Frequently Sometimes Never2. I try to use good breath support while I am singing.Always Frequently Sometimes Never3. I try to sing with a full and free vocal tone, while blending my voice with others.Always Frequently Sometimes Never4. When I get ready to sing a song or exercise, I look at the key signature to determine the key (also called the "tonality").Always Frequently Sometimes Never5. I try to read notes and rhythms as I am singing.Always Frequently Sometimes Never

      This is a great example of self-assessment in choir

    1. It is interesting to notice that this article from a decade ago doesn't even mention any online assessment. So much has changed since then! I'm glad to see that from measuring attendance and attitude we are moving toward a more professionally acceptable system where we can teach, assign and assess measurable knowledge in music ed, more specifically in choral programs.

    2. 11% for music knowledge

      Only 11% for knowledge! That is surprising and could be more if we don't try to measure "talent" but the knowledge that is teachable and factual. Again, this is old data (1991) so today the numbers might look different.

    3. Moreover, non-achievement criteria such as attendance, attitude, effort, and participation may be given more overall weight in the grading process than achievement criteria.

      Yes. I agree. And these are the characteristics of our Online Reading Comprehension module as well. It is not the grade. It is not the achievement, but the process, the participation and engagement.

    4. attendance and attitude were the most common grading criteria employed by instrumental and choral music teachers.

      Yes. I noticed that in schools.

    5. Some music teachers believe the creative or interpretive nature of music precludes assessment but then readily employ subjective methods of assessment, many of which "are determined haphazardly, ritualistically, and/or with disregard for available objective information" (Boyle & Radocy, 1987, p. 2).

      This is old data (1987) but still true on some levels. By now, what I see in practice is that music educators have figured out what is that's measurable and what is not and in the school I was student teaching, the choral program is taken as an academic subject and is graded.