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Clinical Intern Rehearsal Observation Form: University of Dayton Department of Music

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CLINICAL INTERN REHEARSAL OBSERVATION FORM

University of Dayton Department of Music


Student name Emily Gatlin
Evaluator Debra Bringman

Grade level/Subject
School Bellbrook MS.

6th, 7th/8th choir


Date 4/14615

4 = Highly effective

1 = Unsatisfactory

LESSON PLAN: includes all components of lesson plan; utilizes clearly


defined objectives and procedures; establishes realistic goals according to
students needs; anticipates areas with potential student learning
challenges
Lesson plans were very detailed and contains all the required
components.
Good overall plan. You knew what had been covered and where
you wanted to go with their progress during the lesson, and in future
lessons.

INTRODUCTION: opening comments; objectives stated


Good review of no breath that you covered yesterday.
Good to get their focus and acknowledge those that needed extra
attention. (girls we need to stop talking)

PACING: does lesson move without unnecessary hesitation?


You knew exactly what you wanted to accomplish and you did so at
a good pace to keep the students interest.
You had a realistic idea of where the students progress would be
and accepted their efforts.
Your explanations and demonstrations made it easy for the students
to understand, so you didnt have to repeat what it is that you
wanted. This kept the rehearsal moving along and interesting for
the students.

WARM UP: includes appropriate warm up to achieve objectives


Good physical warm-ups good enthusiasm and fun demeanor.
Good to make the warm-ups precise and have an expectation for the
sound.
Good vowel work. I would work on a rounder OH sound. You had
great kinesthetic for EH and AH include one for the OH.

CONDUCTING: executes clear patterns with appropriate size, style, tempo;


conveys expressive musicianship; demonstrates appropriate eye contact
Try to avoid excessive clicking/snapping your fingers.
Good to conduct the moving parts because you want to hear that.
Try to watch audibly tapping your foot. You can start with this and
then just put the beat in your body while you conduct.
Work on consistent pattern and independence of hands.
This will develop more when you are able to get away from the
piano.

ERROR DETECTION & CORRECTION: detects problem areas and


suggests appropriate solutions
This is a strong area for you.
Good to stop and rehearse what you want when they arent doing it.
Excellent use of visual and kinesthetic to remind (ex. point) them of
no breath, etc. Try to give them a kinesthetic and visual cue in
class so that you can use the same cue while they are performing
so you get the same results during a performance that you have
during class.
Good to anticipate what the student said (what you wrote on the
board was not the same in the music) and correct yourself.
You taught a wrong rhythm in the descant part, and you didnt catch
it. Thats why its good to play the accompaniment part, in finale, to
double check against your rhythm.
Good to have the students CIRCLE trouble spots you did this
repeatedly. Good for you! What a great rehearsal technique you
are reinforcing.
Is scooping on the WHY acceptable? Besides demonstrating, try
to figure out a concrete way to verbally explain it. Try the
right/wrong procedure so the students can figure out a way to avoid
this during rehearsal and/or performance.

INSTRUMENTAL PEDAGOGY (instrumental): demonstrates knowledge of


fingerings, ranges, transpositions, playing positions, balance, tone
N/A

VOCAL PEDAGOGY (choral): demonstrates breath management,


vowels/consonants, tone/resonance, balance
Another strong area for you.
You gave excellent demonstrations and they were age appropriate
which makes it easy for the students to emulate.
Give Sop I some ideas on how to sing that high note more
diaphragm support, vowel modification. Make it a teachable
moment and/or voice lesson.
You might have them sing their starting note first to secure their
pitches before you have them sing the entire section.

Give them ideas on how to sing louder! (More diaphragm support,


loose jaw). Once again, make it a teachable moment and/or voice
lesson.

MUSICAL CONTENT KNOWLEDGE: demonstrates acceptable aural skills,


ability to sing musical lines at sight, modeling performance skills, musical
terminology/symbols, score analysis techniques
Very strong here. The explanations are age appropriate.
Great use of terminology (suspension/resolution, crescendo, no
breath, etc).
Good review of yesterdays lesson before you started todays
lesson.

CLASSROOM MANAGEMENT: appropriate proactive and in-class


discipline for effective rehearsal; positive comments
Great to remind them of using their pencil. Consistent
reinforcement of using the pencil and how/where to use it.
Good use of authoritative voice when you need to be stern.
Still kind and nurturing, even when you are disciplining them.
By just subtle cues, (both verbal and visual) you are able to gently
focus their attention back to the rehearsal.
Students were on task throughout the entire class.

COMMUNICATION: communicates clearly; provides appropriate feedback


to students; provides effective guidance
Excellent instruction while they are singing to give reminder cues of
what you have isolated and worked on (no breaths, crescendo, etc)
Great positive reinforcement of good job.
Be sure to always give them feedback when they are attempting
something new (ex. No breath). They want to know how they did.

PROFESSIONALISM: develops effective working rapport with students;


demonstrates consistency and fairness; models responsible and
professional behavior, including punctuality and appropriate dress
Professional attire and demeanor.
Outstanding rapport with the students. They respect you and want
to do their best for you.
Good use of students names. This shows that you care about
them!
You have created a safe environment for them to sing.

STUDENT ASSESSMENT: demonstrates student evaluation techniques;


utilizes technology to enhance and assess learning; uses feedback
appropriately; encourages student self-reflection and evaluation
Nice job of asking what they forgot (crescendo), yet you stressed it
was ok that they forgot and theyd get it the next time.
When students tell you something that you did incorrectly, you take it
all in stride shows self-confidence in your teaching ability. I think
you look at it as the students success, not your failure, which is
fabulous!
You answered students questions with a caring demeanor and
completely/thoroughly.

CLOSING: assessment of rehearsal; give appropriate assignments


Good hand-off to Julie.
You complimented the students about their efforts and product.
You might think of this area as a review/preview so reinforce the
concepts you are teaching and pique their interest of what they are
going to sing tomorrow.
.

4
3
2
productive?

OVERALL EFFECTIVENESS OF REHEARSAL: Was the rehearsal


Did teacher meet his/her objectives?

Emily had a strong sense of what she wanted to accomplish today and
those concepts were taught effectively and with ease. You have a good sense
of this age groups attention span and designed your rehearsal with that in
mind, which led to a very effective pacing of the class and for students being
on task.
It was a very productive rehearsal today, and I would venture to say,
every day is productive because I heard improvement from when I first heard
the choirs in January.

5
Summary of evaluation/commendations/suggestions for improvement:
Emily has grown and matured into a self-confident choral director during her time as a
student teacher. Her passion for music education permeates the classroom and her strong
knowledge of choral music, vocal pedagogy, and music content shines through with her students.
Another strong area for Emily is error detection and correction as she has a strong ear and
already knows several ways in which to fix a problem.
I would suggest a stronger relationship between the vocal warm-ups and the
concepts/trouble spots you are teaching that day. I would also recommend using the sightreading skills the students have when you are teaching new music (less by rote.) Another
recommendation would be that when you are frustrated by the way they are singing, self-analyze
what it is you personally do to produce the sound you want, and make that a vocal lesson
(teachable moment) to the students. You give great demonstrations of what you want, but you
need to be able to articulate how you get that sound and teach that to the students. Be sure to
use ideas that the students can easily relate to (ex. Home Alone look, throw-up muscles, etc)
From day one of observing Emily, I have been highly impressed with her nurturing and
caring demeanor in the classroom. It is obvious that she cares for her students and their wellbeing. Emily also strikes a good balance between caring and setting a high expectation for their
behavior and performance skills. I have encouraged Emily to start an elementary choir should
she get an elementary classroom position, so she can contribute her many talents to the choral
world, and help to build the choral program at the secondary level in that district. She should
also keep an open mind about a choral job as she could easily teach this area very successfully.
Because of Emilys natural teaching abilities and strong musicianship, she has very few
classroom management issues. As her self-confidence has grown, she has become more at
ease in front of the students, and its obvious she enjoys her time making music with them. I
know this will continue when Emily has her own classroom and she will be a master music
educator throughout her career. It has been a true pleasure to work with Emily, and I wish
her the best of luck and hope to follow her successful career.

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