Concert Choir Assessment
As it relates to my previous post and our current discussions about assessment in the New Learnings and New Literacies cohort, here’s some examples and reflections regarding assessment in the “Shto Mi E Milo” unit for my Concert Choir:
Assessment reflects progress toward acquiring skills and knowledge, and is integrated in my choral classroom to support, enhance, and reinforce learning. Planned before rather than after a unit, assessment is an integral part of the learning process rather than an intrusion. I approach assessment not based upon skills that are easiest to assess but upon those most important to learn.
Within the second segment described in my previous post, Concert Choir was engaged in experimentally performing “Shto Mi E Milo” in a variety of timbres. Colored pieces of paper were presented as a visual reference and the students were asked reflect the color of the paper in their singing. Throughout, students demonstrated greater confidence with the harmonies and asymmetrical rhythms that were problematic during the first videotape segment. They were noticeably engaged in the different colors, and worked towards a brighter, authentic tone color.
Embedded into rehearsals is opportunity for students to use journals to document notes, definitions, reflections, self-assessment, questions, dictation exercises, and composition sketches. At the beginning of this unit students journaled regarding: “What are your musical goals?” and “What do you feel we you need work on?” These questions wet their palate for new activities and prompted connections to what they had already learned. In the middle of the unit, students journaled regarding: “What is your perception of your progress so far in this unit?” “How close are you to attaining the goals stated at the beginning of this unit?” At the conclusion of the unit, students journaled regarding: “What have you learned in this unit?” “How do you feel about what you learned?” Students submitted their portfolios at the end of the unit. Within a Choral Parents’ Association newsletter, I shared students’ responses with parents and administrators.
In conjunction with journaling, I recorded rehearsals of “Shto Mi E Milo” and asked students to make assessments through a worksheet entitled “Ensemble Listening Worksheet.” This worksheet guides students’ comments regarding tone quality, rhythmic and pitch accuracy, diction, expression, and interpretation. Additionally, in every rehearsal, a student is assigned to sit out, face the ensemble, and critique the rehearsal using the “Rehearsal Observation Form.” As the “student director,” this worksheet prompts students to dictate warm-ups and ascertain their purpose, rate the choir’s performance using a rubric, evaluate achievement of rehearsal goals, and be poised to share opinions regarding ensemble progress. This student is in the line-of-sight in the bottom left-hand corner of the screen during the first videotaped segment. Students were also asked to complete “Celebrations of Knowledge.” These evaluative quizzes cover history, theory, dictation, as well as reflection inquiries regarding personal and ensemble achievement. Students also read articles, create PowerPoint presentations, compose, and complete “Patron of the Arts” reports regarding live musical performances.
Portfolios, a purposeful collection of student work, are the primary means of collating student progress and achievement. Portfolios include concert programs, compositions, journal entries, performance critique sheets, audiotape of individual and ensemble performances, and completed assignments. Portfolios contain student work collected over the school year and reveal the development of production, perception, and reflection skills. The evidence presented in the portfolios is graded and when combined with attendance and punctuality requirements for dress rehearsals and performances, accounts for their quarter and semester grades.
Through anecdotal observations and evaluation of portfolio entries, I found that the planning of this unit effectively accounted for legitimate progress in five main student behaviors: producing, conceptualizing, analyzing, evaluating, and reacting. In the midst of every rehearsal students were engaged in creating, recreating, improvising, singing, and conducting. In regards to conceptualizing, students identified, defined, discussed, studied, reasoned, generalized, and theorized. Students were engaged in comparing, classifying, locating, examining, contrasting, differentiating, and grouping. Within the realm of evaluating, students made progress in judging, assessing, appraising, estimating, justifying, and deciding. Finally, the result of these experiences was reacting where students were feeling, responding, sensing, and empathizing.
