Edtpa Pfa Assessment Commentary

K-12 Performing Arts
Task 3: Assessment Commentary
TASK 3: ASSESSMENT COMMENTARY

Respond to the prompts below (no more than 10 single-spaced pages, including prompts) by typing your responses within
the brackets following each prompt. Do not delete or alter the prompts. Commentary pages exceeding the maximum will not be
scored. Attach the assessment you used to evaluate student performance (no more than 5 additional pages) to the end of this
file. If you submit feedback as a video or audio clip and your comments to focus students cannot be clearly heard, attach
transcriptions of your comments (no more than 2 additional pages) to the end of this file. These pages do not count toward
your page total.
1. Analyzing Student Learning

a. Identify the specific learning objectives measured by the assessment you chose for
analysis.
[ The formal post-assessment is in three parts. The first part is a term identification, definition,
and explanation. The second part is a reflection of an ensemble performance using concepts
learned over the lesson sequence. The last part is an assessment of individual performance
where students are assessed on the different components of musicality taught in the lesson
sequence. In part one, students are asked to match the musical term with its definition, draw the
symbol or abbreviation of the term, explain what musical expression, explain the Balance
Pyramid, identify the parts of the pyramid, and identify where their instrument belongs in the
Balance Pyramid. The first part of the assessment aligns with the learning targets from lessons
1 and 2, which include students will identify their instrument part within the Balance Pyramid,
students will explain the visual of the Balance Pyramid in terms of dynamics and voicing, and
students will define dynamic terms by their abbreviation. The second part of assessment, the
reflection portion, aligns with the learning targets from lessons 3 and 4. These learning targets
are as follows: students will use expressive qualities and descriptive language to listen and
respond to different works of music and students will analyze a familiar melody for phrasing and
expression. The third part of the assessment, which is individual performance, achieves learning
targets within lesson 2 and 4: students will demonstrate an understanding of staccato and
legato articulations by differentiating note lengths, entrances, and releases, and students will
demonstrate an understanding of dynamic markings by showing contrast between each
dynamic level. Each of these learning targets align with the central focus which is students will
examine musicality in performance through balance, blend, dynamics, phrasing, and articulation
by demonstrating a synthesis of the terms as they refer to the sound of a wind band ensemble
through the use of visual aid, descriptive language, and performance. Additionally, the
assessments and activities meet state standards (25.A.3c Music: Identify and describe
changes in elements and expressive qualities (e.g. crescendo, ritardando, fermata, meter,
sforzando), 26.B.3c Music: Sing or play with expression and accuracy a variety of music
representing diverse cultures and styles) and national standard (MU: Pr4.3.E.8a: Demonstrate
understanding and application of expressive qualities in a varied repertoire of music) ]
b. Provide a graphic (table or chart) or narrative that summarizes student learning for your
whole class. Be sure to summarize student learning for all evaluation criteria submitted
in Assessment Task 3, Part D.
[ Figure 1: Pre-Assessment and Post-Assessment
Studen
Pre-Assessment
Post Assessment
t
of Student
of Student
Musicality in
Musicality in
Individual
Performance
Performance
1
25
30
Pre-Assessment
of Student
Knowledge of
Musicality
Proficient
Post
Assessment of
Student
Knowledge of
Musicality
Excels
Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

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Figure 2.1: Percentages of Learning and Growth in Individual Performance
Figure 2.2: Percentages of Learning in Knowledge of Musicality
Figure 1 is assessment data gathered from each student in the class. The chart compares raw
scores on pre-assessment and post-assessment of individual performances, for which the
assessment criteria is a rubric of several musical components (e.g. pitches, rhythms, timing,
tone, articulation, dynamics, and style). The second part of the chart compares qualitative
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assessments of student knowledge based on classroom participation and exit slips turned in
during the lesson sequence. The Unsatisfactory mark means that students are not
participating and cannot demonstrate an understanding of concepts taught in the lesson
sequence. Basic means that students are sometimes participating, showing a basic
understanding of concepts taught within the lesson through knowledge outcomes, but are still
struggling to apply and incorporate knowledge and skills to creating and performing. Proficient
students are actively participating in lessons and demonstrate both an understanding and
application of concepts taught within the lesson sequence. A student who Excels is proficient
in material and goes beyond what is asked of them in terms of assessments and performances.
Figure 2.1 compares average percentage of student raw scores in pre-assessment and postassessment, and shows average growth percentage among students. Figure 2.1 is a bar graph
comparing students qualitative marks pre and post assessment based on percentage of the
class as a whole. ]
c. Use evidence found in the 3 student work samples and the whole class summary to
analyze the patterns of learning for the whole class and differences for groups or
individual learners relative to applying the following within music/dance/theater:
knowledge/skills (e.g., tools/instruments, technical proficiencies, processes,

elements, organizational principles)
contextual understandings (e.g., social, cultural, historical, personal reflection)

artistic expression (e.g., interpretation, creativity, exploration/improvisation, individual
choices)
Consider what students understand and do well, and where they continue to struggle
(e.g., common errors, weaknesses, confusions, need for greater challenge).
[ According the whole class summary, overall, students showed tremendous growth in the
lesson sequence regarding both knowledge/skills, contextual understandings, and artistic
expression. All students improved their raw score of individual performance. All but two students
improved qualitatively. Additionally, at the end of the sequence, only two students had an
unsatisfactory mark. I suspect that this is because these students missed a large portion of the
lesson sequence, and therefore missed crucial information. These students will have
supplemental material to support their lack. The data reports an increase in knowledge/skills,
contextual understandings, and artistic expression.
Based on the evidence found in the 3 student work samples, students have developed
knowledge and skills for musical terms identification and definition. One of the initial steps to
building musicianship is through being able to interpret musical notation and apply it to creating
and performing. In the student work samples of part 1 of the Post-Assessment, students
showed greatest proficiency in term identification and definition and identification of their
instrument within the Balance Pyramid. Of the three student work samples, all three students
showed competency in part one. Each student received a grade of B+ or higher. In the second
part of the post-assessment, which was a reflection, all three students scored well, as well. This
is because the purpose of the reflection is to get students to self-assess using elements taught
in the lesson sequence. Since all three students were able to reflect and reference elements
taught in the sequence, they received a full score for answering the questions insightfully. For
example, student 2 recalled and reflected on a class activity and identified a learning target from
lesson 1, We played an inverted pyramid, so that we could tell the difference between balanced
and unbalanced (sounds). The learning target for this activity states Students will demonstrate
an understanding of the Balance Pyramid by contrasting balanced and unbalanced dynamics as
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an ensemble. Student 1 and 2 are developmentally normal and high functioning for students of
their age. Student 3 is a struggling reader. In order to supplement his need for additional
prompting in part 2 of the assessment, the reflection. I created a word box with key terms from
the lesson for students to choose from, providing vocabulary and examples pertaining to the
lesson sequence. The largest discrepancy of scores I found was in part three of the
assessment, individual performance. Individual performance is meant to encourage students to
apply their knowledge in creating and performing. This discrepancy may come from a variety of
factors, including fine motor skill function and development, additional support outside the
classroom (i.e. private lesson teachers or the lack thereof), and time spent individually on
material outside of class. Student 2 receives great support outside of the school day in private
lessons. Student 3 struggles with fine-motor function and spatial awareness. Student 1 does not
have a private lesson teacher, but still demonstrates a strong understanding of their instrument,
music, and sound. The assessments allowed for a spectrum of learners to use and apply
knowledge skills, contextual understanding, and artistic expression. Feedback was provided to
cater to students learning and needs, and scores were given largely based on accuracy and
completion.]
d. If a video or audio work sample occurs in a group context (e.g., discussion), provide the
name of the clip and clearly describe how the scorer can identify the focus student(s)
(e.g., position, physical description) whose work is portrayed.
[ N/A ]
2. Feedback to Guide Further Learning
Refer to specific evidence of submitted feedback to support your explanations.
a. Identify the format in which you submitted your evidence of feedback for the
3 focus students. (Delete choices that do not apply.)
Written directly on work samples or in separate documents that were provided to the
focus students
If a video or audio clip of feedback occurs in a group context (e.g., discussion), clearly
describe how the scorer can identify the focus student (e.g., position, physical
description) who is being given feedback.
[ Feedback to students is written directly on an Individual Performance Rubric. Students receive
the breakdown of each score, as well as comments, such as strengths and weakness, regarding
their performance, and feedback to help them improve, or challenge them further. ]
b. Explain how feedback provided to the 3 focus students addresses their individual
strengths and needs relative to the learning objectives measured.
[ Student one is a student without specific learning needs. She demonstrates a slightly above
average understanding of musicianship and is able to apply her knowledge/skill in performance.
Feedback was provided in a rubric with criteria, pitches, rhythms, timing, tone, articulation,
dynamics, and style. Each score in the scale has specific descriptions of each level that
determines students scores. For example, the difference between a score of 4 and 5 for criteria
dynamics is that students go beyond dynamics printed on the page in addition to performing all
printed dynamics appropriately. Comments provided to the student include strengths and areas
in need of improvement. For student one, I provided affirmation of notes and rhythms, and let
the student know that her use of dynamic contrast was done correctly. I provided student one
with some suggestions for improvement, which included work on crescendo-ing more evenly
and gradually and an exercise for the student to improve their tone, practice holding a Bnatural for a long time to develop better tone. Student two is high functioning and receives
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additional support from private lessons outside the school day. I provided student two with
positive feedback that was specific to her strengths. I explained to her the attributes of her
playing that were strong and suggested a medium through which she could challenge herself. I
wrote in her comments, I think that you can start playing some challenging solos. Please see
me after class. I later followed up with student and gave her solos that would challenge her
knowledge and skills even further. Student three is a struggling reader. He also struggles with
fine motor skills and has demonstrated a slower learning curve than other students. I assessed
him as I did with other students in terms of individual performance. I wanted to provide the
student with a raw assessment of his performance that was not scaled to his ability level. With
this student, I was more encouraging and positive in my comments, since I feel that confidence
is a contributing factor in student learning. I also let the student know that he was improving in
note reading and provided specific additional support specific to his needs, Lets spend some
time with a slide position chart and get used to where each position is. ]
c. Describe how you will support each focus student to understand and use this feedback
to further their learning related to learning objectives, either within the learning segment
or at a later time.
[ Because of the structure of this class and the school day, students are able to receive more
individualized teaching in group lessons throughout the week. In this program, students have
pull-out lessons once a week, which is a 40 minute period where students of like instruments
spend time with the teacher for additional instruction and support. Using my assessments of
students and feedback provided to them, I am able to cater to the specific learning needs of
each student. Group lessons range from 2-8 students, giving me time and opportunities to
support students in their individual areas of strength, weaknesses, errors, and misconceptions.
For student one, I would help facilitate in the long tone exercise that I described in her feedback
to improve her tone. The exercise would include a repeat after me long tone exercise,
encouraging the student to listen and match pitch, as well as giving the student a context of
good characteristic tone of her instrument. For student two, as suggested in my feedback, I
would provide student with more challenging solo repertoire. This would give student the
opportunity to deepen and expand her learning, challenging her appropriately. Student three is
one that would benefit most from individualized instruction. Time would be spent in group
lessons with this student, which is the one-on-one support he needs for explicit instruction and
demonstration. With this student, we are still developing a knowledge and skill understanding of
basic music notation, notes and rhythms. It is in this time, I would provide additional support and
feedback in this area. ]
3. Evidence of Language Understanding and Use
When responding to the prompt below, use concrete examples from the clip(s) and/or
student work samples as evidence. Evidence from the clip(s) may focus on one or more
students.
You may provide evidence of students language use from ONE, TWO, OR ALL THREE
of the following sources:
1. Use video clips from Instruction Task 2 and provide time-stamp references for
evidence of language use.
2. Submit an additional video file named Language Use of no more than 5
minutes in length and cite language use (this can be footage of one or more
students language use). Submit the clip in Assessment Task 3, Part B.

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3. Use the student work samples analyzed in Assessment Task 3 and cite
language use.
a. Explain and provide concrete examples for the extent to which your students were able
to use the
selected language function,

vocabulary/symbols, AND
syntax or discourse
to develop content understandings.
[ In part 2 of the assessment, students were asked to reflect on a performance using vocabulary
and concepts taught during the lesson sequence. Students were provided with the musical
terms, as well as a description/definition/examples. The first question in the reflection asks
students to choose a musical concept from the box below and describe how we worked on
improving this concept during class. The second question asks students to choose one or
more musical concepts from the box below that needs more work for our Holiday concert.
Elaborate on how we can work on this musical concept in class. Here, students are challenged
to use vocabulary, language function, and syntax to intelligently self-assess their performance
encouraging them to not only do what their told, rather to understand why we do certain things
in rehearsal and prompt them to think about these musical concepts while they are performing.
Student one chose to reflect on the dynamics of the recorded performance. She noted that we
played B-flat at multiple dynamics and then listed all the dynamics used in the lesson sequence:
pianissimo, piano, mezzo-piano, mezzo-forte, forte, and fortissimo. In the second prompt,
student two used articulation vocabulary and described staccato as being short. She also
evaluated overall ensemble articulation of staccato markings as not short enough and
suggested that students have a competition on who can play shorter. Student two identified
exercises, visuals used in class, and their purpose in the lesson sequence. Student two
responded to the first prompt, In class we worked on balance and blend. We used the balance
pyramid. I raised my hand for the top group because I am a high instrument. Then we played an
inverted pyramid, so that we could tell the difference between balanced and unbalanced.
Student incorporated vocabulary and syntax in a way that demonstrated a very high level of
cognition. Additionally, student two synthesized instruction and was able to thoroughly assess
articulations. In prompt 2, student two discussed articulation and how the class can improve the
overall accuracy of the length of their notes. We need more work on articulation. Our short
notes arent short enough. To work on this we should play staccato notes more short and tenuto
notes more connected so that there is a bigger difference. Student then quotes a phrase that I
use to remind students of how to play shorter and lighter, tip of the tongue to the tip of the
reed. Lastly, student three demonstrated use of language function, vocabulary, and syntax in
smaller and more basic sentence structure. This is due to his attribute of being a struggling
reader. However, he was still able to answer prompts with insight. Student three addressed
notes and rhythms in prompt one and identified a strategy used to help students with accuracy
of notes and rhythms. He states, We sing then play to help our notes and rhythms to be better.
Sing and play is a strategy that I employ in instructional scaffolding to help students learn new
melodies and rhythms. If they can sing it and develop a melodic understanding of the phrase,
then they can also play/perform the phrase accurately. Student three realizes deficiencies in
notes and rhythms. In the second prompt for the reflection, he also identifies notes and rhythms
as a concept that requires more attention. He goes on to identify fingering charts as a resource
to help students figure out the note that [they] dont know. Each of these focus students were
able to employ and apply vocabulary of musical elements (dynamics, articulation, etc.), the
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language function (reflect, describe, elaborate), and syntax to demonstrate their learning and
understanding of musical concepts within the lesson sequence. ]
4. Using Assessment to Inform Instruction
a. Based on your analysis of student learning presented in prompts 1bc, describe next
steps for instruction:
For the whole class

For the 3 focus students and other individuals/groups with specific needs
Consider the variety of learners in your class who may require different
strategies/support (e.g., students with IEPs or 504 plans, English language learners,
struggling readers, underperforming students or those with gaps in academic
knowledge, and/or gifted students).
[ Based on my analysis of student learning, some instructional next steps for the whole class will
include building upon student learning related to the learning targets, fine arts standards, and
providing students with more opportunities to create and respond. Students showed the greatest
proficiency in knowledge/skill outcomes. These outcomes include identifying their instrument
within the Balance Pyramid and defining dynamic terms by their abbreviation. I would like for
students to further develop their contextual understanding and artistic expression by providing
exercises that encourage students to develop context and create based on the musical
concepts learned thus far. A supplemental activity that I would use to improve student learning
of phrasing and expression is through listening. Students would listen to excerpts of different
interpretations of the same music. Then, student would be prompted to respond to the phrasing
and musicality of each excerpt, identifying differences in the interpretations of the recording and
by evaluating the recordings based on their musical knowledge. Students would also be
provided with the sheet music for the excerpts demonstrated in the recordings. To further
develop student understanding of blend, students would participate in an activity that
incorporates describing characteristic sounds of their instruments as demonstrated by
professionals in audio/video. Students will then attempt to match pitch, tone, and timbre with
each other. In order to facilitate students in creating and understanding artistic expression, I
would have students choose a song or piece that they feel a special connection to. With this
song, students would respond to several prompts. The first prompt would ask students why they
chose the work that they did, what the special connection is. The second prompt asks students
to respond to the song they chose by creating. Students will be allowed to utilize a variety of
media. Students will respond in a way that they feel best helps them express themselves.
Suggestions for creating include recreating the work they picked, creating a visual image to
demonstrate the expressive and emotional qualities in the piece, and writing an essay, narrative,
or description. Students may choose their own form of responding the song of their choice, but
this must be approved by the teacher beforehand. The last prompt would ask students to justify
their artistic expression of the piece they chose in terms of the musical qualities discussed in
class, additionally students will be required to present their work to other students using musical
concepts from the learning sequence to describe their project. ]
b. Explain how these next steps follow from your analysis of students learning. Support
your explanation with principles from research and/or theory.
[ The lesson sequence and analysis of student assessment showed that students were able to
remember, understand, apply, analyze and evaluate musical elements. However, assessments
focused on recall, explanation, and application. According to Blooms Taxonomy, these fall within
the lower levels of cognitive function. To support and deepen student learning, I created
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exercises that would engage in the higher levels of cognitive function according to Blooms
Taxonomy, which are analyze, evaluate, and create. In my findings of student assessment,
students demonstrated a lack of synthesis of blend. Therefore, in order to deepen
understanding of blend and get students to analyze their knowledge/skills, contextual
understanding, and artistic expression of blend, I would have students respond to characteristic
sounds of their instruments as demonstrated by professionals who play their instrument. In the 6
tiers of Blooms Taxonomy, analyze is in tier 4, the upper half. Language functions of analysis
include differentiate, organize, relate, compare, contrast, distinguish, examine, experiment,
question and test (Armstrong 2015). In this exercise, students would incorporate many of these
functions, such as examine, experiment, and distinguish through listening, characterizing, and
performing based on a recording of a professional playing their instrument. The second activity I
would incorporate to improve student learning is evaluation of different interpretations of the
same music. Students would engage in functions such as judge, critique, and argue about
which interpretation they felt was most expressive. Evaluation is the 5th tier in Blooms
Taxonomy. Blooms Taxonomy helps organize objectives by cognitive function, which helps
establish a sequence of pedagogical interchange that teachers and students can understand
the purpose of the interchange (Longman 2001). To achieve the highest level of cognition, which
is create, I would incorporate the final project that I described above. Students would be
required to utilize all four types of knowledge used in cognition to complete the project. The
types of knowledge are factual knowledge (terminology, details, elements), conceptual
knowledge (classification, categories, principles, generalizations, theories, models, structures),
procedural knowledge (subject specific skills, techniques, methods), and metacognitive
knowledge (strategic knowledge, appropriate contextual and conditional knowledge, and selfknowledge) (Forehand 2005). Engaging students in higher levels of cognition improves learning
and retention of knowledge and skills. The creating function asks students to design, assemble,
construct, develop, formulate, author and/or investigate. Creating is the ultimate form of
synthesis and understanding. Students learn the most from creating, it requires them to think
deeply and utilize all 6 tiers of Blooms Taxonomy. To cater to students different learning types, I
allowed them the freedom to choose how they respond to the piece of their choice. Each person
favors a different learning style. A learning style is a medium through which a person
experiences the most effective and efficient learning. Learning styles influence the way you
learn, the way internally represent experiences, and the way you recall information (Advanogy
2004). Allowing students to choose the medium through which they express themselves in this
project individualizes learning for an optimized learning experience. Finally, students will be
asked to present their project to each other and provide constructive feedback to one another.
This supports a positive social learning environment, where students can learn from each other,
not just from teacher instruction. Lev Vygotsky argued that learning is a social act. Social
interaction plays a fundamental role in the process of cognitive development. Vygotsky stated,
Every function in the childs cultural development appears twice: first, on the social level, and
later on the individual level first between people (interpsychological) and then inside the child
(intrapsychological). (Vygotsky, 1978). Providing students with opportunities to engage in
discourse with each other is an opportunity for deeper learning. ]

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K-12 Performing Arts

Task 3: Assessment Commentary

TASK 3: ASSESSMENT COMMENTARY

1. Analyzing Student Learning

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

K-12 Performing Arts

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

K-12 Performing Arts

Figure 2.1: Percentages of Learning and Growth in Individual Performance

Figure 2.2: Percentages of Learning in Knowledge of Musicality

K-12 Performing Arts

knowledge/skills (e.g., tools/instruments, technical proficiencies, processes,

contextual understandings (e.g., social, cultural, historical, personal reflection)

K-12 Performing Arts

K-12 Performing Arts

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

K-12 Performing Arts

selected language function,

K-12 Performing Arts

For the whole class

K-12 Performing Arts

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

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