Alex Meek

MUSIC 512
Dr. Payne
5 November 2018
Assessment Portfolio
ANNOTATED LIST
1. In-Class Discussion
a) This type of informal assessment is used periodically throughout class periods to
expound on ideas and gauge understanding of a topic. Discussion is primarily
student-led, initiated and moderated by the teacher.
b) In-class discussion could be used in a variety of ways. For example, it could be
used to develop meaning for an unfamiliar stylistic marking. Students could use
prior knowledge to collaboratively uncover the meaning of this marking, while
the teacher could use the discussion to assess their understanding of prior (and
future) concepts.
2. Written Tests
a) Written tests are type of objective assessment designed to measure a student’s
comprehension and application of a variety of topics. To do this, tests employ
strategies such as multiple choice, matching, fill-in-the-blank, and essay
questions.
b) Tests could be used when the teacher desires a more clear-cut, results-based
assessment of student comprehension. The teacher could then modify the content
covered in future lessons based on these test results. For instance, a written test
over basic music theory (markings, dynamics, phrases, ensemble tendencies, etc.)
could be used as a pre-assessment at the beginning of the year to assess your
ensemble’s prior knowledge.
3. Video Submissions
a) In a band classroom, video submissions require the student to send individual
performances to the teacher for assessment.
b) This form of assessment forces the student to practice their analysis and
performance skills, which are both critical components to ensemble playing and
 individual musicality. Video submissions would be a great alternative to in-person
playing exams, as it relieves the student of performance anxiety and allows them
to focus more in-depth on their musicality. The teacher could then assess them
with a rubric provided to the student prior to submission.
4. Student-Graded Rubrics
a) A rubric splits up characteristics of an exemplary product and allows the evaluator
to assess each of them on an individual basis. Rubrics typically allow for both
scores and commentary, and may be assessed by both teacher and student.
b) This method of assessment could be used either formally or informally. For
example, a student could be given a teacher-crafted rubric to assess a playing test
they submitted online. In an informal setting, we could define and compile a
rubric as a class to use for evaluation after a concert. We could use the results
from this as a reference on what to focus on in our next concert block.
5. PowerPoint Presentations
a) This assessment tool allows students to collaboratively research a previously
unknown topic and teach it to the rest of the class. Presentations require the
synthesis of information into an aesthetically pleasing format, intended for the
consumption of an audience.
b) Presentations could be used in a variety of formats, from allowing students to
present about musical topics they are passionate about, to expanding on concepts
not covered in class. For example, students could be split up into instrument
families (saxophones, flutes, trumpets, low brass, etc.) and asked to present on the
history, trivia, and maintenance techniques of their instrument. Groups would be
evaluated over the overall result, information presented, and aesthetic
presentation, with an additional grade applied to each person over individual
contribution.
6. Podcasts
a) Podcasts are an auditory presentation tool that is becoming increasingly popular
in today’s society. They typically contain a number of different features that
address a singular topic, including discussion (or banter), interviews, music, and
the like.
 b) Podcasts can be offered as an alternative to the traditional PowerPoint
presentation, as they typically present the same information in a different format.
For example, students in like instrument groups could work together to produce a
cohesive podcast that covers information similar to the PowerPoint. One or two
students could act as host(s), one student could conduct the interview, one could
be in charge of music, etc. Groups would again be assessed over the overall result,
cohesiveness of the podcast, information presented, and individual contribution.
7. Creative Projects
a) The category “creative project” covers a broad range of assessment tools, such as
composition, creative writing, or the like. These should be assigned with loose
guidelines so that students can have as much creative freedom as possible when
elaborating on the topic at hand.
b) Extending the meaning of a topic into a creative context requires a different
approach to understanding than other assessment tools do. For instance, students
could be asked to write a short story that goes along with The Seal Lullaby by Eric
Whitacre, citing specific points in the music to justify their creative decisions.
Stories could be assessed using peer evaluation.
8. Portfolios
a) Portfolios are a collection of creative works produced by the student. They serve
as a visual organizer for one’s work and progression throughout the year.
b) While portfolios are mainly just a way to show the student’s work throughout the
year, students could use them as a means for self-reflection. Of course, students
will compile their portfolios throughout the year as projects are completed. At the
end of the year, students will type a reflection thoroughly describing their
experiences in class and how they shaped their creative style towards music.

IMPLEMENTATION
In-Class Discussion
This assessment tool can be easily applied to a variety of situations, but it can namely be
used to uncover the meaning of unfamiliar topics. To do this, I would begin each discussion by
drawing them in with something they are already familiar with. From there, we would briefly
discuss that opening bit, and identify components that are less familiar. Under my guidance,
students would then discuss possible meanings for the new material. After a consensus is met, I
would then uncover the meaning of the unfamiliar topics and apply it to the context I have
planned for that lesson. I would incorporate this regularly into my lessons so that students would
learn to rely on self-discovery as a valid means of learning. I would continuously analyze the
discussions in real-time so that I can appropriately guide them to an appropriate destination. I
would also use the results of these discussions to fuel the course of future lessons.

Written Tests
Tests will be administered towards the end of a unit or large chunk of lessons. These will
be used sparingly, as my assessment philosophy aligns more closely with project-based learning.
However, when used, I will give one test to each student at the beginning of a designated class
period. The tests will include some combination of short answer, multiple choice, matching, and
application, depending on the content. Students will have all class to complete the test. Each test
will be graded objectively using a previously-created answer key. These grades will then be
released back to the students. Results will be compiled and analyzed to determine trends in my
students’ comprehension and what needs to be addressed more heavily in the future.

Video Submissions
Music excerpts, playing tests, and other criteria will be identified. Students will be asked
to record themselves performing the criteria, and then to send them into the teacher. Submissions
will be graded using a predetermined rubric and self-evaluation provided by the student upon
submission of the video. Teacher feedback and analysis will immediately be released back to the
student after grading.

Student-Graded Rubrics
Before a performance or project, both the teacher and students will collaboratively build a
rubric that will be used for assessment purposes afterwards. This will take place the class period
before the performance or project is due. We will begin by identifying what a quality product
looks like in terms of individual components (tone, aesthetic, etc.). After the most important
categories are identified, we will describe the best and worst extremes of each one. Mid-points in
between the two will be established, and then assigned point values. Depending on the context of
its use, the rubric will either be evaluated individually or as a class. Regardless, assessment will
be conducted entirely by the students the class period following the project or performance.

PowerPoint Presentations
Students will be assigned to groups in order to produce a PowerPoint presentation over a
designated topic. After said presentation has concluded, each group member will be asked to
give their group a letter grade and briefly explain why they believe they deserved it. Group
members will also be asked individually to rate each other’s effort and contribution to the
project. Responses gathered from the students will be compared with teacher observations, with
the final grade being derived from the average of all responses. Individual effort feedback will be
factored into each individual grade as well.

Podcasts
Students will be assigned to groups in order to produce a podcast that details a specific
concept. Podcast examples will be shown to each group, so that they can develop ideas on what
to include in their own project. A teacher-generated rubric will be distributed to the students.
From there, students will be given free reign over the development of their project. Groups will
need to pay particular attentipn not only the inclusion of typical podcast components (interviews,
intro/outro music, aesthetic presentation, content, etc.), but also how they contribute to the
podcast’s overall cohesiveness. Assessment will work similarly to that of the PowerPoint
presentation. Each student will be asked to grade their final product and to provide a rationale,
along with scores for each of their group members’ effort and contribution level. These
responses will be averaged together (with teacher feedback) in order to reach a final grade.

Creative Projects
This form of assessment would primarily be used in conjunction with teaching the
aesthetic concepts of musicality. For example, after listening and playing through a lyrical piece
of music, students will be asked to write a short story that best explains the arc of the piece.
Completed stories will be submitted online and redistributed randomly, so that each student ends
up with a story that is not their own. They will be asked to give it a letter grade, based on criteria
deemed important by them. A brief rationale will be expected. Afterwards, both teacher and
student input will be combined for the final grade, which will then be released to the original
student. Common themes/results will be shared with the class in order to craft a shared
interpretation of the piece.

Portfolios
Throughout the course of the year, students will be encouraged to save their projects,
tests, and video submissions to a single folder on their computer. At the end of the year, they will
be asked to write a reflection detailing their experiences and “takeaways” from class, and how it
impacted their learning throughout the year. This reflection will be graded by the teacher, who
will be looking for in-depth analysis and specific examples to back their statements up.

EXEMPLARS
1. In-Class Discussion
Teacher (T): Who here can tell me what they know about marches?
Students take turns identifying notable characteristics of marches, such as tempo,
dynamics, timbres, etc.
T: Today I want to show you a specific type of march that has had a huge
historical impact in the world of music. Let’s take a listen.
T plays a recording of Rolling Thunder.
T: What did you guys notice about that? What were some similarities to what we
already identified? Differences?
Students take turns going through these questions.
T: If you had to give this type of march a name, what would it be?
Students state their given names and briefly explain them. Teacher reveals that
the name of the genre is “circus march”.
T: How can we make this piece sound like it should be played at a circus?
Students discuss and identify ways to make it sound more genre-specific.
 2. Written Tests

3. Video Submissions
WIMMER MEMORIAL HIGH SCHOOL
Wind Ensemble Auditions
 Video record your audition.
o You may use a camcorder, smartphone, webcam or any other means to create
your videos.
 Upload your videos to a file sharing program (Dropbox, Google Drive, etc.) or to a
video hosting website (YouTube, Vimeo, etc.).
 Submit your video
o You will be able to supply internet links (URLs) to your uploaded videos.
o It is your responsibility to ensure that your videos can be viewed by anyone
with the link. Please check this before submitting!
Auditions will take place during band the Monday following our last marching competition.
Results will be posted in the band room the following week.
4. Student-Graded Rubrics
Teacher and students would work together to fill the blank spaces of this rubric with criteria deemed
important to them.
5. PowerPoint Presentations
6. Podcasts

PODCAST EVULATION
STUDENT NAME: __________________________________________________________
GROUP NAME: ____________________________________________________________

What letter grade (A, B, C, D, or F) would you give your group’s completed podcast? Why?
Be sure to include specific examples of the content, delivery, interview, musical
enhancements, etc.

How would you rate each group member’s level of contribution?

GROUP MEMBER: (not involved at all) 1 2 3 4 5 (very involved)

GROUP MEMBER: (not involved at all) 1 2 3 4 5 (very involved)
GROUP MEMBER: (not involved at all) 1 2 3 4 5 (very involved)

7. Creative Projects
The following is a description of Eric Whitacre’s The Seal Lullaby provided by Timothy
Dickey, a fellow music educator. Students are encouraged to create an entirely fictional story
if they should like, but this in essence is what I would be looking for as far as imagery versus
context goes.
The opening moments of the final The Seal Lullaby (for choir and piano) betray the filmic (and even Disney-esque,
in Whitacre's own words) roots of the piece, with gently rocking chords leading to a completely consonant cadence. The
first verse opens with prominent soprano melody leading the soothing way, calling the baby to sleep with images of
night, dark sea-waters, and gentle but cool moonlight. The lullaby shows regular phrase structure but more surprising
turns of melody and quick syncopations as potent and gentle as wavelets crashing into a cove. The same oceanic (and
idealized) combination of regular rhythmic pulses with sudden tiny swells continues in the second verse, as the men's
voices address the "tiny flippering," and ask for it to make a pillow where the seas's "billow meets billow." All voices assure
the small thing that storms nor sharks will be threats while it sleeps. Voices recede into textless vocalizations, and a third
verse proceeds in much the same musical vein, with calming melodies here and there tinged with sharp syncopations of
the waves. The lullaby does move into what should be a conventional major cadence, but remains somewhat
harmonically unsettled as if its liquid undercurrents cannot completely meet where we think they will arrive.
8. Portfolios
Website format not required, but encouraged as one of the possible formatting options.