Assessment Modification Project

Caitlin Meyer

University of Saint Joseph

EDUC 534: Assessment for Learning

1
 Table of Contents

Part I: Performance Task and Assessment..3

Part II: Student Demographics...6

Part III: Primary Assessment and Modification.......7

Part IV: Student Outcomes.......13

Part V: Statistical Analyzation of Student

Data..24

Part VI: Primary Student Outcome Reflection...25

Part VII: Second Modification of Assessment...26

Part VIII: Second Student Outcomes..30

Part IX: Second Statistical Analyzation of Student Data..40

Part X: Reflections on the Modification Process...41

Works
Cited.....44

2
Caitlin Meyer
University of Saint Joseph
EDUC 534: Assessment for Learning

Assessment Modification Project

Course: Concert Band, full-year course

Content Area: Musical Performance Benchmarks
Grades: 9-12
Student Population: Alto Saxophone Section, 12 Students
Timeframe for Assessment: 1 week

Part I: Performance Task and Assessment

Students in Concert Band will perform mastery-based performance benchmark

assessments at standard intervals throughout the concert season. It is expected that

each student will demonstrate knowledge and content growth in their respective

ABRSM rating. Students are welcome to test into a higher rating at any point during the

concert season and may take the assessment an unlimited number of times within the

given assessment time slot (one week from the opening of the task on SmartMusic) to

allow for mastery of performance. This assessment will be the third performance task

given this school calendar year.

Materials Needed:

Instrument and instrument accessories (reeds, ligature, mouthpieces, etc.)

in good working condition
Sheet music
Access to SmartMusic and a microphone (available in the music
department in each practice room)

3
Performance Task:

Students will, on their chosen instrument, perform a selection of music as dictated using

their SmartMusic login. Students may rehearse and record an unlimited amount of times

within the set time period for the performance benchmark assessment. The benchmark

assessment will remain open for one week after the rubric and selection are given.

Work Title: Dillons Flight by Ralph Ford

Assessment Parameters: mm. 63- 79, complete

Artifact 1.1: Visual Sample of SmartMusic Assessment

4
Learning Targets:

Enduring Understandings Essential Questions

1) Analyzing creators context and 1) How does understanding the

how they manipulate elements of structure and context of musical
music provides insight into their works inform performance?
intent and informs performance. 2) How do performers interpret
2) Performers make interpretive musical works?
decisions based on their 3) How do musicians improve the
understanding of context and quality of their performance?
expressive intent.
3) To express their musical ideas,
musicians analyze, evaluate, and
refine their performance over time
through openness to new ideas,
persistence, and the application of
appropriate criteria.

Content Knowledge Skills

Musical Concepts: DoK 2:

Demonstrate
Chords and Voice Leading
Rhythm, Meter, and Tempo DoK3:
Texture Assemble/organize
Dynamics sounds
Balance and Blend Identify performance style
Timbre of instruments and voices Apply criteria to
Musicality and Phrasing composition

DoK4:
Improvise
Assess
Refine
Perform (share)

5
 Standards

MU:Pr4.1.E.IIIa: Develop and apply criteria to select varied programs to study and
perform based on an understanding of theoretical and structural characteristics and
expressive challenges in the music, the technical skill of the individual or ensemble,
and the purpose and context of the performance.

MU:Pr4.2.E.IIIa: Examine, evaluate, and critique, using music reading skills where
appropriate, how the structure and context impact and inform prepared and
improvised performances.

MU:Pr4.3.E.IIIa: Demonstrate how understanding the style, genre, and context of a

varied repertoire of music informs prepared and improvised performances as well as
performers technical skill to connect with the audience.

MU:Pr5.3.E.IIIa: Develop, apply, and refine appropriate rehearsal strategies to

address individual and ensemble challenges in a varied repertoire of music.

Part II: Student Demographics

This section of students was selected because it offers a significant breadth of abilities,

ages, educational needs, and socioeconomic status.

The following table denotes each students demographic data in the band classroom -

their grade in school, their current ABRSM rating (a mastery testing program in which

students can go at their own pace - the higher the number and letter, the higher the

performance mastery), number of years in band, and accommodations that are

necessary to complete the given performance task. They are placed in the order that

each student sits for their section.

Student Grade ABRSM Year in Accommodations

Rating Band

Kayla 11 4K 3 None

6
 Andrew 9 3B 1 None

Juliet 10 3A 1 None

Hannah 9 3A 1 None

Xian 9 3A 1 ELL: Use of a translator when

necessary, access to SmartMusic
translation plugin

Owen 10 2B 2 Visual: Large Print Music and

access to large-font digital tools

Allison 10 2C 2 None

Zihong 9 1E 1 ELL: Use of a translator when

necessary, access to SmartMusic
translation plugin

Samuel 10 1D 2 None

Sidong 12 1D 3 ELL: Use of a translator when

necessary, access to SmartMusic
translation plugin

Alexa 12 1C 1 None

Joshua 12 1C 1 None

Part III: Assessment and Primary Modifications

The original assessment given for the first two performance benchmark tasks appeared

for students as follows:

Artifact 3.1: Original Playing Rubric, Unedited

Concert Band Playing Quiz Rubric

0 points 1 point 2 points 3 points 4 points

Fingerings Refused Fingers are not Few or none of Most of the notes All of the notes
to play placed on the notes are are played using are played using
the played using the the correct fingers the correct
instrument correct fingers fingers
correctly

7
 Rhythm Refused None of the notes Few of the notes Most of the notes All of the notes
to play are played are played are played the are played
the correct the correct correct length the correct
length length length
Notes Refused None of the notes Few notes are Most notes are All notes are
to play are sounding at sounding at the sounding at the sounding at the
the correct pitch correct pitch correct pitch correct pitch
levels levels levels levels
Articulation Refused None of the notes Few to half of the Most of the notes All of the notes
to play are tongued or notes are are tongued and are tongued and
slurred correctly tongued and slurred correctly slurred correctly
slurred with correct style with correct style
correctly
Tone (quality Refused Cannot get Thin, weak sound Some air support Full sound with
of sound) to play sound out of the with little to no and working good air support
instrument air support toward a full
sound
Embouchure Refused Mouth is not at Weak muscles Somewhat weak Strong, pulled
(mouth set to play the correct part of and/or incorrect muscles and back corners
up) the instrument embouchure working toward and flat chin
firmer
embouchure
Dynamics Refused The student is The music is very The music is The music is
(loudness) to play blasting or loud or almost slightly too easily heard with
inaudible too soft to hear loud/soft and no distortion
somewhat
distorted
Tempo Refused No discernable Somewhat steady Mostly Steady Completely
to play steady beat beat in a beat at a good steady beat in
reasonable tempo (slightly the correct
tempo too fast or slow) tempo range

Comments:
Total /32

This original assessment has been used for each performance assessment in Concert

Band. In an effort to have students create a deeper meaning with the music, increase

metacognition, and allow for student expression, edits were made as expressed in the

following rubric. Red font indicates a deletion of the topic, blue font indicates an edit to

the original text, and green font indicates an addition to the rubric. This rubric was

distributed one week before the third performance benchmark assessment took place.

8
Artifact 3.2: Primary Edit of Assessment Rubric

Concert Band Playing Quiz Rubric

0 points1 point 2 points 3 points 4 points

Fingerings Did not Fingers are not Few or none of Most of the notes All of the notes
complete placed on the notes are are played using are played using
task the played using the the correct fingers the correct
instrument correct fingers fingers
correctly
Rhythm Did not Notes are not Few of the notes Most of the notes All of the notes
complete played the correct are played are played the are played
task length the correct correct length the correct
length length
Notes Did not Notes are not Few notes are Most notes are All notes are
complete sounding at sounding at the sounding at the sounding at the
task the correct pitch correct pitch correct pitch correct pitch
levels levels levels levels
Articulation Did not Notes are not Few to half of the Most of the notes All of the notes
complete tongued or slurred notes a re are tongued and are tongued and
task correctly tongued and slurred correctly slurred correctly
slurred with correct style with correct style
correctly
Tone (quality Did not Cannot get Thin, weak sound Some air support Full sound with
of sound) complete sound out of the with little to no and working good air support
task instrument air support toward a full
sound
Embouchure Did not Embouchure is not Weak muscles Somewhat weak Strong, pulled
(mouth complete present on the and/or i ncorrect muscles and back corners
placement task correct part of the embouchure working toward and flat chin
) instrument firmer
embouchure
Dynamics Did not The student The performance The The performance
(the variation complete does not is very loud or performance is easily heard
in loudness task demonstrate almost is slightly too with no distortion
between notes dynamic too soft to hear loud/soft and indicates
or phrases) abilities as indicates some somewhat significant
marked in the dynamic contrast. distorted dynamic
music. indicates contrast, which
significant highlights the
dynamic musical excerpt.
contrast.
Tempo (the Did not No discernable Somewhat steady Mostly Steady Completely
speed at which complete steady beat or beat in a beat at a good steady beat in
music is task tempo is present. reasonable tempo (slightly the correct
performed) tempo too fast or slow) tempo range

9
 Musicality / Did not Very little Stylistic accuracy Stylistically Stylistically
Interpretation complete meaningful is accurate accurate
task stylistic demonstrated and consistent and consistent
interpretation some of most of throughout.
of musical the time. Stylistic the time. Some Seldom
passages. interpretation is passages may lack rigid or
Style is demonstrated stylistic mechanical.
undeveloped some of interpretation Excellent and
and inconsistent. the time, but is but do not detract meaningful
Musical phrasing often from the phrasing
is rigid and performance. and interpretation.
mostly mechanical mechanical.
and non-musical. Musical phrasing
is
basic but not
always
consistent.

Self Reflection Did not The reflection The reflection The reflection The reflection
complete does n ot address attempts to explains the explains the
task the students demonstrate students rationale students own
performance reflective abilities about their own rationale and
and/or learning. on their performance learning
performance, but processes. processes about
is vague and/or their
unclear about the performance, as
personal learning well as
process.. implications for
future
performances.
Total___/36

In addition to the changes made to the rubric, students were given a self-reflection exit

ticket, which was available in-app immediately following the performance assessment:

1) Which parts of your performance were the most successful? Where can you

make improvements in future performances? Indicate specific measures or

musical aspects.

2) Which musical aspects are the most important to highlight during your

performance? Indicate specific musical aspects in relation to your performance.

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 3) What have you accomplished in this performance assessment that you could not

perform before?

4) What is one takeaway from this assessment that you will apply to sectionals?

What is one takeaway from this assessment that you will apply to full Concert

rehearsal?

Primary Reflection for Edits:

As stated in Put to the Test: Tools & Techniques for Classroom Assessment by Therese

Kuhs, Robert Johnson, Susan Agruso, and Diane Monrad, it is our duty as educators to

give assessments in typical, or natural performance situations, and to ensure that all

types of students can show what theyve learned (Kuhs 4). This poses a unique

challenge to the concert band ensemble setting, where a vast array of student abilities

and backgrounds exist simultaneously. It is simply not possible in a classroom of 50 to

100 students to individually assess each student individually in a solo setting.

Thankfully, in the age of digital learning, the music educator has tools such as

SmartMusic in which students can individually perform a chosen selection, which is then

graded summatively via a computational algorithm.

While this algorithm is helpful to the music educator as a resource for a baseline grade,

it is not currently feasible for a computer to fully grasp the full range of human emotion

present in a music performance. It is necessary for music educators to take a holistic

11
approach to grading performances based on subjective criteria. The original rubric as

outlined in Artifact 1.1 offers a starting point for this assessment process - giving

numerical values to otherwise subjective skill sets. However, this original rubric is

lacking in several aspects, most noticeably in student feedback and metacognition as

well as in the content area of musicality. In an effort to more clearly map the required

content of conceptual music patterns, the category notes has been removed - this also

brings a higher rigor to the the rubric itself. While the note category is still an important

factor in determining the knowledge and skill set of a student musician, it is now

combined in other sections such as tempo and rhythm. In its place, an additional

category has been added: the category of musicality. This means that the assessment

rubric will now place a higher emphasis on individual student output, allowing for

students of many backgrounds and musical abilities to receive credit for the individual

nature of their performance instead of rote technical ability.

The biggest change to the rubric can be found at the end - the addition of student

feedback and self reflection. Administered directly in the SmartMusic prompt, the self

reflection must now be completed before students can submit their final rehearsal and

recorded scripts. This will better prepare students for metacognition of their own

performances, and will allow each student, regardless of ability or previous experience,

to reflect on the process of musicality and growth over time.

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 Part IV: Student Outcomes

Student Scores Received

Kayla
Concept Score

Fingerings 4

Rhythm 4

Articulation 4

Tone 4

Embouchure 4

Dynamics 3

Tempo 4

Musical Interpretation 4

Self Reflection 4

Total Score 35

Student Reflection Responses:

1. I was happy that I could hit all of the notes correctly except that
I broke a little bit on the E flat in measure 74. I need to improve
on paying attention to the accent marks. I got them all at the
beginning but forgot to when they came back in measure 74
and 75.

2. I usually focus on hitting the right notes but I will continue to

focus to see how each accents and dynamics are important.

3. Before I could almost never get an E flat right with good

intonation, but this time I was really close. Focusing my breath
using diaphragm breathing has helped.

4. My biggest takeaway is not getting too wrapped up in things,

and to just make music. I was stuck on getting the notes right,
and I did, but that made me miss the accents and not always

13
 get dynamics right. I think thats a good lesson for my whole
section because we can be perfectionists. The whole group
has to do that too because if some people accent notes and
some people dont it wont sound good.

Andrew
Concept Score

Fingerings 3

Rhythm 4

Articulation 4

Tone 3

Embouchure 4

Dynamics 2

Tempo 4

Musical Interpretation 4

Self Reflection 2.5

Total Score 30.5

Student Reflection Responses:

1. I was most successful after measure 68. I messed up the

accents at the beginning but after the three measures of rest I
started getting into a rhythm. I guess I need to get in the game
before I start playing so Im not starting off behind.

2. Really all of them. All of them working together. So if you play

the right notes but theyre too loud or soft, or if you do the
wrong accents it wont sound good.
3. Even though I got the first few measures wrong I played the
rest of it right so thats more consistent than I usually am.

4. My section clowns around sometimes so I think we all need to

get ready earlier. I guess that probably applies to the whole
ensemble too.

Juliet

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 Concept Score

Fingerings 3

Rhythm 4

Articulation 3

Tone 3

Embouchure 3

Dynamics 3

Tempo 3

Musical Interpretation 3

Self Reflection 3

Total Score 28

Student Reflection Responses:

1. I feel that my dynamic contrasts were the most successful part
of my performance. I was able to make a big crescendo in
measure 63 to a sfz in measure 64. In future performances I
might not crescendo quite so much because I overblew the
note in 64 on the sfz.

2. The most important aspects of my performance would be the

dynamic contrasts, note accuracy, and rhythmic accuracy. It is
important to play the correct rhythms and notes while still
observing the dynamics otherwise the changes in the music
are less effective.

3. I spent a lot of time practicing the dynamics while still playing

all the accents and correct articulations. Measures 72 79 took
a lot of practice time, but I played them right in the
performance.

4. I realized that the dynamic changes can make a huge

difference in the way the music is expressed. I will help my
section to develop these changes as well to better improve our
effectiveness in the overall performance. This assessment is
really helpful to people finding what they can improve on to

15
 better prepare for the concert.

Hannah
Concept Score

Fingerings 3

Rhythm 3

Articulation 3

Tone 3

Embouchure 3

Dynamics 2

Tempo 3.5

Musical Interpretation 3

Self Reflection 3

Total Score 26.5

Student Reflection Responses:

1. The parts of my performance that were the most successful

were the notes. I can make improvements in future
performances if I play the right rhythms. The specific
measures where I need to play the right rhythms are measures
68, 69, 70, 71, 72, 73, 74, and 75.

2. The musical aspects that are the most important to highlight

during my performance are the notes. Specific musical
aspects of my performance are that I played all the notes right,
but my rhythms are not all right.

3. Before this performance assessment I could not play all the

right notes, and now I accomplished that.

4. One takeaway from this assessment that I will apply to

sectionals is that I can help the other students know the right
notes. In sectionals we are still practicing rhythms which will

16
 help me. One takeaway from this assessment that I will apply
to full concert rehearsal is playing the right notes together
sounds better.

Xian
Concept Score

Fingerings 2

Rhythm 2

Articulation 3

Tone 2

Embouchure 3

Dynamics 3

Tempo 2

Musical Interpretation 2.5

Self Reflection 2

Total Score 21.5

Student Reflection Responses:

1. I was very good. I played all the notes in the measures 63-79.

2. The notes and rhythms are important musical aspects. I played

all of the notes but I missed some rhythms.

3. This assessment was good practice for me. I get the notes
right but sometimes I do not get the rhythms.

4. I will help my section to play the right notes and rhythms. We

will work on remembering rhythms together.

Owen
Concept Score

17
 Fingerings 4

Rhythm 3

Articulation 3

Tone 3

Embouchure 4

Dynamics 2

Tempo 3

Musical Interpretation 3

Self Reflection 3

Total Score 28

Student Reflection Responses:

1. The sforzando in measure 64 and 79. If I need work on

anything its probably maintaining proper tempo while trying to
master the more technical aspects.

2. I think that all musical aspects are equally important because

they have to work together in harmony. On this assessment I
did a good job of correctly playing all of the notes while
considering accent marks and dynamics.

3. In the past when I approached a sforzando I might play the

rhythm too sloppy (I would start too soon or take too long to
play softer).

4. My main takeaway is that given enough time focusing on the

deeper aspects of music, you can master even the most
technical parts. I dont plan to stop playing so I look forward to
seeing what I am able to do in sectionals and in band.

Allison
Concept Score

Fingerings 4

18
 Rhythm 3.5

Articulation 3.5

Tone 4

Embouchure 3

Dynamics 3

Tempo 3

Musical Interpretation 2

Self Reflection 3.5

Total Score 29.5

Student Reflection Responses:

1. I played the accented eighth notes really clear at measures 63
and 76. I could bring out the accented notes more in measures
74 and 75 where they are between notes without accents.

2. It is important to play accents on the right notes to play the

important parts more clearly.

3. I accomplished playing the right rhythms. I couldnt play

measures 68 71 before, but I practiced them a lot and now I
can.

4. If I play my part right in sectionals the group sounds better. I

can play the hard rhythms in measures 68 71 now so I will
make the groups sound better. If my sections is more together
when we play those hard parts as a group, it will make the
band sound better in rehearsals.

Zihong
Concept Score

Fingerings 2

Rhythm 2.5

19
 Articulation 2.5

Tone 3

Embouchure 3

Dynamics 1

Tempo 3

Musical Interpretation 2

Self Reflection 2.5

Total Score 21.5

Student Reflection Responses:

1. I was successful in playing the music. I cannot make any

improvements. I played all of it correct.

2. My tone quality was very good and I used vibrato on the long
notes in measure 68-69 and measure 72-73.

3. I could already play this music, it was easy.

4. We need to play their part right in sectionals, I am playing my

part but others play their part too. I will show the other players
how to play the part so that can play it with me and we will
sound like a one section in concert rehearsal.

Samuel
Concept Score

Fingerings 3

Rhythm 3

Articulation 3

Tone 2

Embouchure 3

Dynamics 1

20
 Tempo 3

Musical Interpretation 2

Self Reflection 3

Total Score 23

Student Reflection Responses:

1. My counting was successful. I played the notes in the right
places. 6/4 is a hard time signature. I played some wrong
notes in the performance, in the future performance I will play
the right notes. Measure 74 has a really high note in it that I
cannot hit, but I am practicing so I can play the high note.

2. Rests are very important musical aspects to highlight during

my performance. They help me play in the right place and not
on the rests.

3. Measure 76 looks a lot like 63 but the rests are different. I

accomplished playing the notes and rests correct.

4. I can help other students count the rests so that we play

together in sectionals. This is also important in concert
rehearsals for my section to play in the right place and not play
over parts where other people play.

Sidong
Concept Score

Fingerings 2

Rhythm 3

Articulation 3

Tone 3

Embouchure 2

Dynamics 1

21
 Tempo 3

Musical Interpretation 2

Self Reflection 3

Total Score 22

Student Reflection Responses:

1. I am not good but I try. I could not do the measure 63 and
74-79. I do the right notes or the right accent but not both.

2. I think the accents are the most important. If notes are right but
accents are wrong then the song sounds very simple. I think
that very good music is very technical too.

3. Before I started I could not play at all, so it is good that at least

I can try now. I look forward to doing better.

4. I need to continue with practice and discuss with experienced

musicians. I encourage all beginning musicians to do the
same.

Alexa
Concept Score

Fingerings 3

Rhythm 2

Articulation 2

Tone 3

Embouchure 3

Dynamics 1

Tempo 3

Musical Interpretation 3

Self Reflection 3

Total Score 23

22
 Student Reflection Responses:

1. The parts of my performance that were the most successful

was that I took my time and I did not overthink it. I should
continue to do that in the future.

2. The musical aspects that are the most important to highlight

during your performance are the correct notes. If you read too
far ahead you might play the wrong notes and if you fall behind
that way then you will miss the rhythms and the markings also.

3. What I accomplished in this performance assessment was that

I was able to complete the assessment without stopping or
starting over. Sometimes I try to predict what will happen next
and then I am not able to continue smoothly. This time I was
able to finish and do a good job.

4. One takeaway from this assessment is that if I can play my part

correctly then my section will succeed and if my section can
succeed then the ensemble will succeed. It is a group effort but
each musician must master their own task first.

Joshua
Concept Score

Fingerings 3

Rhythm 3

Articulation 2

Tone 2

Embouchure 3

Dynamics 1

Tempo 3

Musical Interpretation 3

Self Reflection 4

Total Score 24

23
 Student Reflection Responses:

1. I played all of the accent notes right. In measures 68-70 I have

trouble counting the ties.

2. I played the rhythms of the accented notes correctly and I

played the accents slightly louder than the other notes so you
can hear the accent.

3. I had trouble making the accents sound different from the other
notes before. I was not using my tongue to play them louder,
and now I do which makes a big difference.

4. In sectionals we can take time to focus on which notes are

accent notes and which notes are not so that everyone plays
them the same. This assessment is going to help the band
members really know what they should work on to improve
their own playing in concert rehearsals.

Part V: Statistical Analyzation of Student Data and Primary Reflection

Topic Mean ( ) Mode Range Range

(Excluding
Outliers)

Fingerings 3 3 2 2

Rhythm 3.083 3 2 2

Articulation 3 3 2 2

Tone 2.917 3 2 2

Embouchure 3.167 3 2 1

Dynamics 1.917 3 2 2

Tempo 3.125 3 2 1

Musical 2.792 3 2 1
Interpretation

Self Reflection 3.042 3 2 1

24
After performing a traditional statistical analysis, general student performance trends

become more clear. On average the selected subset of students struggled most with

the content task of Dynamics ( =1.917), which can be assessed as a statistical

outlier. Excluding the content target of dynamics, each musical aspect had a mean of 3

0.208, from which can be deduced that overall, the student subset group has

approximately similar understanding of each content target, relevant to each students

given level. Naturally, this is supported by the prevalence of 3 as mode.

It can also be deduced from the data that the student subset requires additional content

support in the area of dynamics.

The range appears to be a somewhat misleading statistic in this data set, due to a

number of aspect lists that contain an outlier (here defined as a value achieved by x -

one student). For example, embouchure, like all other aspects, has a range of 2, but

only one student scored a 2 with the rest scoring 3 or higher. Similarly tempo, musical

interpretation, and self reflection were all clustered closer to their mean than might be

evident in the range of median scores.

Part VI: Primary Student Outcome Reflection

From an educators standpoint, making edits to the original rubric format has been very

eye-opening. The original rubric has been in place for multiple years in our concert

band, for each performance benchmark assessment for a total of 10 assessments per

25
school year. Therefore, students who have participated in concert band for 4 years were

very used to the original format, and editing the assessment rubric meant upsetting

that classroom culture somewhat.

After reviewing scores from the first two performance assessments it became clear that

each student remained mostly equivalent to their previous scores. However, I feel that

the breadth of the task for technicality of musical performance has been greatly

expanded upon for future assessment tasks. Additionally, the conditions in which the

musical technicality are to be applied are more focused.

The biggest change made to the assessment was the addition of self-reflection. In an

effort to clearly communicate the required tasks, the self-reflection questions were

added to the end of the SmartMusic digital assessment, in addition to the added scored

row in the rubric. This allowed the scoring data to reflect this opportunity for

metacognition and reflection, without diluting the rigor of knowledge content.

Part VII: Second Modification of Assessment

The following rubric highlights these edits - red font indicates a deletion of the topic,

blue font indicates an edit to the original text, and green font indicates an addition to the

rubric. The following rubric was distributed one week before the fourth performance

benchmark assessment took place.

26
Work Title: Dillons Flight by Ralph Ford

Assessment Parameters: mm. 107 until the end, omitting mm. 108-113

Artifact 7.1: Alto Saxophone 1 Sheet Music

Artifact 7.2: Modified Concert Band Rubric

Concert Band Playing Quiz Rubric

Non-Com Beginning: Developing: Meeting: Exceeding:
pliant 1 point 2 points 3 points 4 points
0 points

27
Fingerings Did not Fingers are not Few or none of Most of the notes All of the notes
complete placed on the the notes are are played using the are played using
task instrument played using the correct fingers the correct
correctly correct fingers fingers
Rhythm and Did not Notes are not played Few of the notes Most of the notes All of the notes
Tempo complete the correct length are played the are played the are played the
task Rhythms are not correct length correct length correct length.
performed as Basic rhythmic Rhythmic Rhythmic
written. accuracy is accuracy accuracy
Tempo is not demonstrated and precision and precision
controlled. in simple are present. are exact.
passages, Demonstrates Tempo is
although rapid clear awareness appropriate and
and of beat and consistent
complex tempo. throughout.
passages are Rhythmic
weak. Tempo interpretations
is not always or variations
controlled. are appropriate
for the
selection.

Articulation Did not Notes are not Few to half of the Most of the notes All of the notes
complete tongued or slurred notes are tongued are tongued and are tongued and
task correctly and slurred slurred correctly slurred correctly
correctly with correct style with correct style
Technique Basic problems exist Technical facility is Coordination, Coordination,
with technique. good most of the accuracy, and accuracy, and
Correct technique is time. flexibility are clear. flexibility are
only Correct technique is Demonstrates excellent.
demonstrated some demonstrated most excellent knowledge Demonstrates
of of the time. and command of thorough
the time. technique. knowledge
and command of
technique.

Tone (quality Did not Basic Strong basic Excellent tone is Excellent tone is
of sound) complete understanding approach is achieved most of achieved
task of tonal quality demonstrated, a the time. Minor throughout
concepts is not yet thin, weak sound issues are quickly the performance.
developed. with little to no corrected. Tone is uniform,
air support is consistent, and
produced. well-controlled.

Embouchure Did not Embouchure is not Weak muscles Somewhat weak Strong, pulled
(mouth complete present on the and/or incorrect muscles and back corners and
placement) task correct part of the embouchure working toward flat chin
instrument firmer
embouchure

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 Dynamics Did not The student The performance The The performance
(the variation in complete does not indicates some performance indicates
loudness task demonstrate dynamic contrast. indicates significant
between notes dynamic significant dynamic contrast,
or phrases) abilities as dynamic which highlights
marked in the contrast. the musical
music. excerpt.
Tempo (the Did not No discernable Somewhat steady Mostly Steady Completely
speed at which complete steady beat or tempo beat in a beat at a good steady beat in
music is task is present. reasonable tempo tempo (slightly the correct
performed) too fast or slow) tempo range
Musicality / Did not Very little Stylistic accuracy is Stylistically accurate Stylistically
Interpretation complete meaningful demonstrated some and consistent most accurate
task stylistic of of and consistent
interpretation the time. Stylistic the time. Some throughout. Seldom
of musical passages. interpretation is passages may lack rigid or mechanical.
Style is undeveloped demonstrated some stylistic Excellent and
and inconsistent. of interpretation meaningful
Musical phrasing is the time, but is often but do not detract phrasing
mostly mechanical rigid and from the and interpretation.
and non-musical. mechanical. performance.
Musical phrasing is
basic but not always
consistent.

Self Reflection Did not The reflection does The reflection The reflection The reflection
complete not address the attempts to explains the students explains the
task students demonstrate rationale about their students own
performance and/or reflective abilities own performance rationale and
learning. on their processes. learning processes
performance, but is about their
vague and/or unclear performance, as
about the personal well as implications
learning process.. for future
performances.

Additionally, small modifications were made to the student self-reflections as shown

below:

1) Which parts of your performance were the most successful? Indicate specific

measures or musical aspects.

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 2) Where can you make improvements in future performances? Indicate specific

measures or musical aspects.

3) Which musical aspects are the most important to highlight during your

performance? Indicate specific musical aspects in relation to your performance.

4) What have you accomplished in this performance assessment that you could not

perform before?

5) What is one takeaway from this assessment that you will apply to sectionals?

What is one takeaway from this assessment that you will apply to full Concert

rehearsal?

Part VIII: Second Student Outcomes

Students Scores Received

Kayla
Concept Score

Fingerings 4

Rhythm and Tempo 3

Technique 4

Tone 4

Embouchure 3

Dynamics 4

Musicality/Interpretation 4

Self Reflection 3

Total 29
Student Reflection Responses:
1. I hit all of the notes correctly, but I also felt like I did

30
 very well on dynamics and rhythms.
2. Even though I did well on rhythms there is always
room for improvement.
3. I think that focusing on a combination of correct notes
and accents is the most important. It can be difficult to
perform technical aspects of a piece when the tempo
changes but that makes it even more important to focus
on them.
4. I was able to get the notes right and also accurately
play most of the rhythms and not miss many accents.
5. My biggest takeaway is to keep focusing on making
music instead of trying to perfect each aspect
individually. Its hard to see the big picture sometimes,
especially when youre trying to get everything perfect. I
think all musicians could use that lesson.

Andrew
Concept Score

Fingerings 4

Rhythm and Tempo 4

Technique 3

Tone 3

Embouchure 3

Dynamics 4

Musicality/Interpretation 4

Self Reflection 4

Total 29
Student Reflection Responses:
1. I was very happy that I was able to get most of the
dynamics and accents because sometimes I struggle
with that. I was most happy starting around measure
114 because during the six measures of rest I started
to think too much but I was able to start again correctly.
2. I did get tripped up a bit on measures 129 and 130 with
the accent marks but I think that I was pretty close and

31
 I did the rest of them right.
3. You need to highlight all aspects of the piece. If you are
a little bit wrong on a few aspects that will still sound
better than getting the accent right but the note wrong,
for example. I did that on measures 129 and 130. Even
though I wasnt perfect everything was close enough to
not throw off the rest of the piece.
4. I dont think I accomplished anything new that I didnt
do before. I think I just did better in general and thats
probably a good goal to have every time you play.
5. It reinforced my feeling that all parts have to perform
together, so I would tell me section to make sure
theyre all doing their job right because if everybody
does that theres no need to worry about what anyone
else is doing.

Juliet
Concept Score

Fingerings 3

Rhythm and Tempo 4

Technique 4

Tone 3

Embouchure 3

Dynamics 2

Musicality/Interpretation 4

Self Reflection 4

Total 27
Student Reflection Responses:
1. I feel that my dynamic contrasts were the most
successful part of my performance. I was able to
appropriately approach the sfz on measure 117 and mf
on 121, for example.
2. While my dynamic contrasts were played correctly I
could have been more precise with the accent marks
on measure 137.

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 3. The most important aspects of my performance are the
dynamic contrasts, note accuracy, and rhythmic
accuracy. The notes and rhythms are only important
insofar as the changes between them are conveyed
using dynamic contrasts.
4. I suppose my biggest improvement was in the area of
consistency.
5. I will continue to help my section to appropriately
identify and express dynamic contrasts because that
way the audience will be able to better evaluate the
subtext of the piece.

Hannah
Concept Score

Fingerings 4

Rhythm and Tempo 4

Technique 3

Tone 3

Embouchure 3

Dynamics 2

Musicality/Interpretation 3

Self Reflection 3.5

Total 25.5
Student Reflection Responses:
1. The parts of my performance that were the most
successful were the notes and rhythms. The specific
measures where I noticed myself playing the right
rhythms are measures 107, 115, 116, 117, 118, 119,
120, 121, and 126.
2. Where I can make improvements on future
performance is playing the correct rhythms in
measures 122, 123, 124, 125, and 126-138.
3. The musical aspects that are the most important to
highlight during my performance are the notes.

33
 Specific musical aspects of my performance are that I
played all the notes right and some of the rhythms
right.
4. Before this performance assessment I could not play
many correct rhythms and now I did.
5. One takeaway from this assessment that I will apply to
sectionals is that it is important to keep practicing
rhythms. One takeaway from this assessment that I
will apply to full concert rehearsal is playing the right
notes and rhythms together sounds better.

Xian
Concept Score

Fingerings 2

Rhythm and Tempo 3

Technique 3

Tone 3

Embouchure 3

Dynamics 3

Musicality/Interpretation 3

Self Reflection 3.5

Total 23.5
Student Reflection Responses:
1. I played all the notes in measures 107-138 and all of
the rhythms in measures 107-138.
2. I think I did the piece correctly.
3. Both notes and rhythms are important aspects of the
music. I played them correctly this time.
4. I played the rhythms more correctly this time than in the
past.
5. I will be an example to my section and they will be able
to play the notes and rhythms better.

Owen

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 Concept Score

Fingerings 4

Rhythm and Tempo 3

Technique 3

Tone 4

Embouchure 3

Dynamics 2

Musicality/Interpretation 3

Self Reflection 4

Total 26
Student Reflection Responses:
1. I think the best part of my performance was my
consistency. I was able to recognize a lot of the more
technical aspects of the piece without losing the tempo.
2. I could have been cleaner on the accented notes in
measure 137-138.
3. I think that all aspects of music are important and they
all have to work together to make a successful piece.
4. In the past sometimes I would focus too much to details
and I would lose the tempo or other simple things. I
dont think I did that this time.
5. My main takeaway is that I have been approaching
things right in practice. I have been trying to focus on
technical details without losing track of the whole piece
and I will teach my section to do that too.

Allison
Concept Score

Fingerings 4

Rhythm and Tempo 3.5

Technique 3

Tone 3

35
 Embouchure 4

Dynamics 3

Musicality/Interpretation 2.5

Self Reflection 3

Total 26
Student Reflection Responses:
1. I did a very good job paying attention to the dynamics
of this piece.
2. I noticed that I did a good job on the accented notes
but that I would slip when moving from accented notes
to notes without accents and vice versa.
3. It is important to highlight clear accents.
4. I didnt accomplish anything that I hadnt before but I
did a better job with dynamics than I have in the past.
5. My section needs to work together, especially on parts
that are harder or more technical. If all of the sections
do that then the band will sound really good.

Zihong
Concept Score

Fingerings 3

Rhythm and Tempo 2.5

Technique 2.5

Tone 2

Embouchure 2.5

Dynamics 2

Musicality/Interpretation 3

Self Reflection 3

Total 20.5
Student Reflection Responses:
1. I correctly played all of the aspects of the piece. I do

36
 not believe that I made any mistakes.
2. There is nothing for me to improve. I will practice to
maintain my skills.
3. If you play all aspects correctly than no highlighting is
needed. The trained ear will appreciate what you have
done.
4. I did not accomplish anything new.
5. My section needs to play their parts correctly. If I play
everything correctly and they dont then it will not sound
good.

Samuel
Concept Score

Fingerings 3

Rhythm and Tempo 3

Technique 3

Tone 2

Embouchure 3

Dynamics 1

Musicality/Interpretation 3

Self Reflection 3

Total 22
Student Reflection Responses:
1. I played all of the notes in the right places.
2. I had trouble going from 2/4 to 4/4 to 6/4. I think that I
was just overthinking it though so I should be able to do
better next time.
3. Important things to highlight are rests and accent
marks.
4. I accomplished playing the notes and rhythms correct. I
didnt play on any of the rests.
5. I can help my section to play the right things at the right
times. If we can all do that then nobody will get

37
 confused and the piece will sound good.

Sidong
Concept Score

Fingerings 3

Rhythm and Tempo 3

Technique 3

Tone 3

Embouchure 2

Dynamics 2

Musicality/Interpretation 3

Self Reflection 3

Total 22
Student Reflection Responses:
1. I try very hard. I think I got many notes and rhythms
correct but got other ones wrong.
2. I must continue to practice very hard.
3. I think that I must be good at all aspects. All aspects
working together make beautiful music.
4. I accomplished many correct notes and rhythms and I
could not do that before.
5. I will continue to take advantage of experienced
teachers.

Alexa
Concept Score

Fingerings 3

Rhythm and Tempo 3

Technique 3

Tone 2

Embouchure 2

38
 Dynamics 1

Musicality/Interpretation 3

Self Reflection 3

Total 20
Student Reflection Responses:
1. The best part of my performance will be my self
reflection. I did not feel like I performed very well.
2. I felt like I missed a lot of notes in the first few
measures and that made me feel behind for the rest of
the performance.
3. Notes and rhythms are very important to highlight
because if you dont play them right then it will throw off
the rest of the piece.
4. I didnt accomplish anything. I had trouble focusing on
the task at hand and got worried about what was
coming next.
5. My takeaway is that you need more than musical talent
to play music. You have to be confident and be able to
think clearly too.

Joshua
Concept Score

Fingerings 3.5

Rhythm and Tempo 3

Technique 3

Tone 3

Embouchure 2

Dynamics 1

Musicality/Interpretation 3

Self Reflection 3.5

Total 22
Student Reflection Responses:
1. I did a good job on the dynamics and I didnt get too

39
 confused by the shifting time signatures.
2. I missed some of the accents in the last few measures.
3. I think that accents are the most important thing to
highlight because they break up the piece and make it
sound better.
4. I did better than I used to on the accents and I am
starting to understand dynamics better.
5. This assessment will help my section and the band to
recognized the aspects of a piece and play the right
things at the right time.

Part IX: Second Statistical Analyzation of Student Data

Topic Mean ( ) Mode Range Range

(Excluding
Outliers)

Fingerings 3.375 3.5 2 2

Rhythm/Tempo 3.25 3 1.5 1

Technique 3.125 3 1.5 1

Tone 2.917 3 2 2

Embouchure 2.792 3 2 1

Dynamics 2.25 2 3 2

Musicality 3.208 3 1.5 1

Musical 2.792 3 2 1
Interpretation

Self Reflection 3.458 3 1 1

Though a similar statistical analysis was performed, the results were noticeably

different. Which the selected subset of students once again struggled the most with the

40
content task of Dynamics (=2.25), their performance on average was better (although

that aspect could still be reasonably considered an outlier). 3 was once again the most

common mode, and although the means once again tended toward 3 ( .458 ), the

clustering was less extreme than it had been in the past. This is due to the general

development of student performance; although performance on Embouchure and

Tone was not as strong, the rest of the content areas showed marked improvement,

thus causing a greater range of mean performance on content areas in general. The

greatest improvement was seen in Self Reflection, (+.41), which was an encouraging

indication of an increase in the depth of student understanding.

Interestingly, the second performance assessment also yielded fewer outliers. While the

number of outliers (again defined as singleton values) remained more or less constant,

the extremity of those values was greatly lessened. Often an outlier would be within 0.5

of the next most extreme value, which is the least possible difference given the scoring

scheme.

Part X: Reflections on the Modification Process

The progression seen from the modification process was astounding. While the change

in student scores between the first and second assessments was minimal, between the

second and third assessments many students demonstrated marked improvement. This

is likely due in part to the previous challenge to the entrenched classroom order

presented with the first modification; students seemed more comfortable with some

pedagogical change having already been exposed to it.

41
The biggest changes in the rubric were the combination of rhythm and tempo and

significant modifications to the standards in tone. While the latter was largely

formalization of the existing standards, the former, I believe, represents a significant

improvement in the quality of the assessment. As demonstrated in the Keys to Quality

Classroom Assessment in Classroom Assessment for Student Learning: Doing It Right

Using It Well by Jan Chappuis, Rick Stiggins, Steve Chappuis, and Judith Arter, the

differentiation between reasoning targets and skill targets is important in both teaching

and assessing (Chappuis 54). As these performance assessments represent skill

targets by definition, I felt that the combination of the previously separate standards

would deepen student understanding as the new combined standard represents a purer

performance target as opposed to a more cognitive one.

The original inclusion of the self-reflection exit ticket bore more fruit as well. While

reflection was clearly the goal, students demonstrated an exceptional development in

metacognition between the two applications of self-reflection. The majority of students

referred to their interpretation of their own cognitive development even when answering

questions that did not specifically ask for it.

That said, I noticed a number of areas in which the assessment could still be improved,

especially in the area of metacognitive analysis. First, the inclusion of qualitative

responses in addition to the quantitative data in the student outcomes would facilitate

42
student growth and encourage them to strive for greater achievement. More importantly,

it would allow for significantly more student involvement in the assessment process;

specifically it would both motivate and facilitate the self-assessment and goal setting

process. Additionally, such qualitative information would allow for better instructor

apprehension of the clear purpose (Chappuis 5) for subsequence assessments.

A second potential area for improvement is in the wording of the rubric itself. Although it

is much improved from the first two modifications, students might benefit from more

clear and concise wording. While the rubric does contain all of the information relevant

to their assessment, many students might be overwhelmed by statements they see as

verbose and the information is only useful if the students are able to comprehend it.

While it may not be possible to fully assess all rubrics as thoroughly as this project, it is

definitely eye opening to see what small changes can do to facilitate student growth

mindset.

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Works Cited:

Agruso, S., Johnson, R., Kuhs, T., & Monrad, D. (2001). Put to the Test: Tools &
Techniques for Classroom Assessment (1st ed.). pp 4-10. London, UK: Heinemann.

Alexander, M. (February 2016). Performance Assessment in the Ensemble Classroom.

Southwestern Music Educator, 1(6), 48-50. Retrieved October 10, 2017, from
https://www.tmea.org/assets/pdf/southwestern_musician/PerformanceAssessment-Feb
2016.pdf.

Chapuis, J., Stiggins, R., Chapuis, S, & Arter, J. (2012). Classroom assessment for
student learning: doing it right - using it well (2nd ed.). Boston, MA: Allyn & Bacon.

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