Name : Ronny Philip

Course : MUE 752

Summary : Examiner Perceptions of Using Criteria in Music Performance Assessment.

In this article, Stanley, Brooker and Gilbert discussed examiner perceptions of using criteria in

music performance assessment at a tertiary conservatorium of music. The authors stated that

the essential purpose of educational assessment is to improve learning. Using the unification

of the Sydney Conservatorium of Music with University of Sydney as an example, the authors

stated that university’s model of academic education, and the Conservatorium model of

professional training has created tension. This is due to university’s plan to implement criteria-

based assessment in the conservatory as part of quality assurance initiative.

Citing Dixon, Johnson and Mills, view that criteria and rating scales lead to greater

objectivity and improved validity and reliability of assessment, in short criteria-based

assessment, has been disputed. Dixon view criteria-based assessment “compartmentalise”

music performance, while Mills view overall performance as a point to assess, instead of

specific criteria such as note accuracy. Another argument presented by the author is that

assessment criteria are ultimately infinite, and can be broken to endless sub-criteria. Criteria-

based assessments can also lead to loss of information.

The study conducted by the authors are based on action research and case study models

similar those the one outline by Burns (1997) and Cohen and Manion (1994). The author stated

that the existing assessment protocols are modified, with the attention of “enhancing

Conservatorium assessment procedures”. The assessment criteria are adopted based on

consultation with Conservatorium examiners, students, and teachers. Analysis of related music

performance assessment criteria literatures are used to stimulate discussions between

stakeholders. After discussion that occurred over a period of several months, unit-specific

criteria for assessment of performers were formulated for various instruments and vocal.

Fifteen staff of the Sydney Conservatorium of Music, whom majority of them have

more than 20 years’ experience of music performance were chosen to be samples of the study.

Individual interview was conducted using semi-structured interview that lasting approximately

one hour. 30 questions were formulated based on related literatures, with the focus on the issues

of purpose of assessment, the examiner’s assessment procedures, current assessment practice

at the Conservatorium, and examiner perceptions of the effects of recent changes to

Conservatorium assessment procedures.

The result was presented under three major points. The first point are examiners’

assessment procedures, which can be identified into three processes. First, examiners initially

adopt “holistic” approach or global assessment. Second, “justification” process which involve

identification of performance characteristics that support the global assessment. Third, specific

criteria are considered. The second point are the benefits and disadvantages of using criteria.

The benefits ranging across “help provide specific feedback to students” to “a succinct way of

helping examiners focus on relevant issues”. Disadvantages listed are “criteria may not

adequately reflect all aspect of performance” and difficulty of using criteria when student

performance is inconsistent throughout a recital. The third point are modification of existing

criteria. Among the answer gather are there were too many criteria, some criteria are irrelevant,

and some criteria are overlapping.

Based on the result of the study, the author suggested that ongoing inspection of

assessment protocol. Criteria-based assessment might be useful to provide focus. However, it

can also put limitation to the examiners. The authors provided table of common assessment

criteria, as examiner would prefer fewer criteria.