Issues in Music Teacher Evaluation

1. Issues in Music Teacher Evaluation Doug Orzolek, University of St. Thomas St. Paul, Minnesota

4. Reminders from Music Leaders Literature • Clear Goals and Objectives – Cowden and Klotman (1991), 97 • “Evaluation ought to involve looking critically at the process of gathering and weighing evidence that will reveal changes in terms of a desirbable musical product.” – Weyland (1960), 295 • Very Subjective – Snyder (1959), 114 • Multifaceted – Dykema and Gehrkens (1941), 368 • “Seek competent evaluation of your work.” – Prescott (1938), 259

5. Some State Models and Initiatives • District of Columbia – w/o VAM • Georgia – “improvement rubric” • Montgomery County, Maryland – Peer • Massachusetts –Self-Assess • Ohio – 50% VAM, No Training • Tulsa, Oklahoma – 5 Domains

6. Three Categories of Teacher Evaluation NAfME (2011) • Teacher evaluation linked exclusively to student outcomes. • Teacher evaluations linked exclusively to teacher practice. • Teacher evaluations that combine measures of student outcomes and teacher practice.

7. Doug’s Categories of Teacher Evaluation Doug (2012) • Teacher evaluation linked assessment of student outcomes. • Teacher evaluations linked to practice via observations. • Teacher evaluations linked to practice via self assessment/critical reflection. • Teacher evaluation linked to all three.

8. Teacher Evaluation Linked to Assessment of Student Outcomes. • Clear, concise, and assessable outcomes/standards/objectives (2). • Experience with a large assessment toolbox – evidence of learning (3). • Efficient and concise means of reporting your findings and results (4).

9. Teacher Evaluations Linked to Practice via Observations. • Charlotte Danielson model – adapt? change? music education friendly? (5). • Should take into considerations the appropriate “dispositions” (6). • Should take into consideration all of the facets of teaching – contextual pieces, constraints, complexities of learning, belief systems/morals, etc.

10. Teacher Evaluations Linked to Practice via Self Assessment/Critical Reflection. • Evaluation of personal statements, self-assessments, teaching portfolios based upon teacher reflections (7). • “Autoethnographical” writings – Teaching with My Hair on Fire (Esquith) or The Courage to Teach (Palmer).

11. Teacher Evaluation Linked to All Three and Other Stuff • “… include multi-faceted evidence of teacher practice, student learning, and professional contributions that are considered in an integrated fashion, in relation to one another and to the teaching context.” (Hammond, 2012) • Evaluation should be accompanied by useful feedback, and connected to professional development opportunities.

12. Big Question: How do we help prepare and empower teachers to deal with these evaluations?

13. Helping Teachers • Understand the “law” • Two Questions: What do students learn in your classes?; and,How do you know they have learned it? • The Reality - Multifaceted and Messy – It will require experimentation – MODELS! • Its about People not Composite Ratings. • Until we agree on what constitutes effectiveness, it will be difficult to measure and reward it. • Share – readings, websites, forums, meetings.

14. “When a call for accountability elicits discussions about education, the results produced are usually positive.” R. Colwell, (2003) “The Status of Arts Assessment: Examples from Music”, Arts Education Policy Review, 105 (2), 16.