Performance evaluation self assessment of learning
At the end of the fiscal year, managers evaluate employee performance using the PEP form. Prior to completing the evaluation, managers have the option of obtaining employee input on a self-assessment form. Prior to reviewing the completed PEP form with the employee, managers should review evaluations with their manager in order to calibrate assessments relative to other managers and the overall performance of the group. The performance year ends with a discussion of the evaluation between the manager and employee. A new performance year begins with a discussion of goals and development plans for the coming year. A self-assessment is required for managers, but optional for staff.
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- Role of Self-Evaluation and Self-Assessment in Medical Student and Resident Education
- [Professional Development] Evaluating Your Own Performance as an Educator
- education.nsw.gov.au
- Free Self-Evaluation and Self-Assessment Templates
- Involving Students in the Assessment Process
- Pros and Cons of Employee Self-Assessments
- Self-Assessment
Role of Self-Evaluation and Self-Assessment in Medical Student and Resident Education
Assessment is a necessary and challenging task for many instrumental music educators. Limited instructional time, little to no assessment training, and large class sizes are but a few of the often cited reasons for the current state of assessment in instrumental music.
Some steps, however, can be taken to improve student achievement in music through better assessment practices. In this chapter, I will focus on the assessment of student learning and achievement in the instrumental music classroom.
I review the status of assessment, the differences between instrumental and choral assessment practices, rating scales, assessing musical knowledge, self-assessment, peer assessment, the psychological impact of assessment, technology in assessment, standardized tests, and the impact of case law on assessment. The chapter concludes with a series of general recommendations for improved assessment strategies. Keywords: assessment , instrumental music , tests , rating scales , achievement , assessment strategies.
The discussion around assessment in instrumental music education has gained a great deal of importance in educational rhetoric in recent years. A great deal of journal space has been dedicated to the discussion of assessment.
However, much of this discussion has either focused on teacher evaluation procedures or the corporatization of student assessment in subjects such as math and English.
Assessing student achievement in instrumental music is a topic that relatively few academic writers have addressed or explored in any methodical manner, and for many years much of the writing on this topic remains anecdotal e. As with many topics of research, music-education scholars have demonstrated ebb and flow in their productivity in research on assessment in instrumental music classrooms. In their discussion of future concerns of the measurement and evaluation of music experiences, Boyle and Radocy stated.
Education experiences many trends, counter-trends, and would-be trends that excite theoreticians and generate many articles.
Sometimes the general public becomes enamored of a trend, and legislators, corporate executives, and various education-minded activists direct attention to schools in accordance with the trend.
After a time, the trend dissipates and attention turns elsewhere, with or without any enduring changes. As one example of this, the first handbook of research in music education Colwell, contained five chapters on the topic of evaluation. In this chapter, Boyle , focused on several aspects of evaluation, including music ability, music aptitude, music intelligence, music capacity, music talent, music sensitivity, and musicality. A decade later in the New Handbook of Research in Music Teaching and Learning , only one chapter remained regarding assessment of student outcomes and as the author of that chapter acknowledged,.
An entire section of the first Handbook of Research on Music Teaching and Learning was devoted to assessment.
Those authors successfully summarized the history of assessment in music with chapters on assessment in five areas: teaching, creativity, program, general, and attitude. This chapter is an update of a few of the issues raised in the first Handbook Colwell and Richardson, , p.
In a decade, the focus on assessment in the handbooks diminished from five chapters to one chapter accurately and effectively updating the same topics covered artfully in the original handbook. Since that time, external forces, including the economy and the proliferation of technology, among other factors, have prompted a resurgence of interest in assessment. Nonetheless, as musical achievement is the outcome most directly impacted by instrumental music instruction and the skill that some authors believe should be the primary focus of assessment e.
Cooksey claimed that performance assessment has been traditionally impaired by the often-cited subjective nature of musical performance. Despite such realities, music education scholars continue to defend the role that assessment can and should take in improving student learning and teacher practices e.
Despite the importance of assessment to student learning, many music teachers cite several barriers to effective assessment beyond a belief that music is a subjective art e. Researchers have found that music educators believe that school size Hanzlik, ; McCoy, ; Simanton, , the large number of students being taught Kancianic, ; Kotora, ; Lehman, ; McCreary, ; Nightingale-Abell, ; Tracy, , inadequate instructional time Kotora, ; Nightingale-Abell, ; Tracy, , difficulty in recording results and maintaining control of student behavior while conducting assessments Kotora, , parent and student apathy toward assessment in music classes Kotora, , and lack of training in assessment techniques Kotora, ; Nightengale-Abell, negatively impact their ability to adequately assess student learning in music classrooms.
Russell and Austin , for example, found that. The majority of participants in our study appear to work under adequate, if not ideal, classroom conditions.
Moreover, issues of instructional time and number of students taught had no substantive relationship with assessment decisions or grading priorities i. Some music teachers who were responsible for very busy schedules and many students, for example, were among the most sophisticated in their choice of assessment strategies and the most credible in how they graded students.
Moreover, it seems that music teachers are content to employ assessment strategies that lead to grade inflation, and a large number of high grades as such assessment schemes are supported by students and parents Hill, Russell and Austin also found evidence of grade inflation in secondary music classrooms.
In this chapter, I organize research conducted in the assessment of instrumental music performance into several categories, including the status of assessment, the differences between instrumental and choral assessment practices, rating scales, assessing musical knowledge, self-assessment, peer assessment, the psychological impact of assessment, technology in assessment, standardized tests, and the impact of case law on assessment.
I conclude with a series of general recommendations for improved assessment strategies. LaCognata examined the manner in which high school band directors assessed student achievement. The participants reported a relatively balanced distribution of school size, school population, director experience, grading practices, and school socioeconomic background. Band directors most commonly used participation and performance attendance as grading criteria They employed performance-based tests almost as often However, these directors believed the most important issues influencing their assessment practices were their philosophy of music education as well as the overall objectives for the class.
These directors believed that the most important purposes of assessment were to identify student needs, provide feedback, and have a better understanding of overall program and instructional direction.
Similar to a later study by LaCognata , Duncan also found that string teachers least often assessed comprehensive music skills composition, music history, portfolios, improvisation, and interdisciplinary assignments. Interestingly, Duncan found that in successful string programs, teachers often employed written assessments, student reflections, teacher-rated rubrics, sight-reading assessments, student evaluations, music theory and history assignments, as well as portfolios and student-rated rubrics.
One might assume that differences between vocal and instrumental music teachers would be either minimal or nonexistent. Both are often based on large performance ensemble experiences and are impacted by many of the same potentially influential circumstances i. However, Russell and Austin found that more established mores and practices of each genre of music may be more influential. For example, middle school choral directors gave significantly more weight to written assessment of musical knowledge than middle school instrumental directors, while they found no significant difference in the amount of weight given to musical knowledge by high school instrumental and choir directors.
Conversely, middle school band directors more heavily weighted practice assessments than middle school choir directors. Russell and Austin did not find, however, a significant difference in the amount of weight given to practice by high school instrumental and high school choir directors. These findings left Russell and Austin to conclude. These differences may indicate that performance skills are either more valued or considered easier to assess in instrumental contexts.
Alternatively, choral music teachers may emphasize attitudinal assessments, despite the challenges inherent in documenting and reliably assessing attitude, because of a stronger desire to cultivate social goals and sense of community than instrumental teachers.
Several researchers have attempted to create a valid and reliable rating scale for assessing instrumental music performance. Saunders and Holahan posed three guiding questions regarding criteria for developing specific rating scales for wind instruments. In general, Saunders and Holahan found relatively high internal consistency in their rating scale and that overall scores were best predicted by five individual dimensions i.
Zdzinski and Barnes developed a valid and reliable rating scale to evaluate string performance. One of the more neglected aspects of assessment in the instrumental classroom is assessing student musical knowledge. In a survey of band directors only, however, LaCognata found that only just over half Objectives focusing on comprehensive musicianship were the least used objectives i.
Music educators have identified self-assessment as a means to enrich musical understanding, aesthetic sensitivity, and critical-listening skills Burrack, Through self-assessment, students can gain a more positive and meaningful idea of their own progress and abilities Zimmerman, Moreover, some authors have posited that, in addition to offering another opportunity for data driven instruction, self-assessment can help students remain engaged in their musical learning and encourage music-making throughout their lives as performers, creators, or responders Shuler, Students who self-assess gain ownership of their own learning and provide themselves with a means for evaluating their growth and setting future goals Wells, Through self-assessment, students can determine their performance weaknesses and devise practice plans to overcome those weaknesses.
Instructors can teach students to monitor their playing by having them create rubrics for assessment, listen to recordings of themselves, and identify techniques or skills that are not up to standard Burrack, ; Criss, Students who have more input into their self-assessments become more motivated to do their best and meet their goals, especially when recognizing their own achievement Criss, ; Shuler, Despite the potential benefits of self-assessment, this assessment strategy is only employed by roughly one-fifth It is unclear, however, if students are able to assess their own musical achievements accurately.
Researchers have found that student self-assessments of musical performance have not always mirrored the evaluations of experts Aitchison, ; Darrow, Johnson, Miller, and Williamson, ; Hewitt, , , , ; Kostka, ; Morrison, Montemayor, and Wiltshire, ; Priest, Middle school Aitchison, ; Darrow et al. Moreover, Hewitt found that students were better able to assess melody but were least successful when assessing technique or articulation.
Morrison and colleagues , for instance, found that high school students could self-evaluate with more discrimination when using a professional recording as an aural model. While some researchers used self-designed evaluation forms Aitchison, ; Darrow et al. Hewitt incorporated student feedback to create rubrics to clarify the form. Hewitt concluded that this modification may have negatively affected the student self-evaluation scores. Saunders and Holahan designed the form to be used by expert adjudicators who may better understand the wording.
Middle school and high school students may need additional help in interpreting the grading criteria. In addition to the use of rating scales, models, and more specific rubric criteria, assessment specialists have suggested that self-evaluation training could lead to greater student accuracy when self-assessing Darrow et al. Brew claimed that peer assessment is a crucial key to developing life-long music-makers.
Many researchers, however, have posited that some students find it difficult to accurately assess their peers due to either little understanding of how to assess or social pressures leading to distorted feedback Divaharan and Atputhasamy, In order to combat these issues of peer process assessments, teachers need to give students some training in assessment, as well as clearly defined directions of how to employ the assessment instrument or scale Crooks, ; Boud, or include students in the process of designing the assessment criteria Nightingale, Wiata, Toohey, Ryan, Hughes, and Magin, Clear directions and effective assessment instruments can also lead students to assess their peers, and themselves, in a similar manner to that of the teacher Falchikov, In order to create effective assessment or peer assessment instruments that will help develop adaptive responses to failure, music teachers need training and support.
Shuler , however, indicated that many music teachers do not receive the requisite training to adequately assess the musical achievement of their future students. The lack of specific assessment training may lead to a lack of assessment confidence.
Russell and Austin , for instance, found that music teachers who reported greater confidence in their ability to assess their students were more likely to include musical performance assessments in their overall grading criteria rather than nonachievement criteria such as attitude or attendance. Despite all of the potential benefits of peer assessment, very few instrumental music teachers employ it as a strategy 9.
This may be due to the potential complications or conflicts that may arise. One should be wary, however, that peer assessments should not be a stand-alone recorded grade. Current educational practices often preclude students from knowing the grades of their peers. This does not mean, however, that peers cannot give each other assistance and guidance. It is possible that assessment that focuses on the ability of students can have subtle long-term negative influences Dweck, ; Kamins and Dweck, ; Mueller and Dweck, Young instrumental students may develop the view that their ability to play their instrument, or indeed participate effectively in music at all, is a fixed entity rather than an incremental or malleable phenomenon.
If a student develops an entity view of their ability, he or she could see failure as a more negative outcome than necessary Willingham, Moreover, such students may view failure on a single test or outcome as an indicator of their ability for the rest of their lives Stone and Dweck, Willingham claimed that students who believe their ability is malleable are less likely to view failure as an indicator of future success as they believe they can do something expend effort in their future trials.
Music education researchers have found similar responses in music students.
[Professional Development] Evaluating Your Own Performance as an Educator
Excel Word Smartsheet. This employee self-evaluation template is the perfect vehicle for you to match your accomplishments with the key responsibilities and performance objectives of your job. Smartsheet is a cloud-based platform that enables HR teams to manage everything from job applicant tracking to new hire onboarding and employee performance reviews. See Smartsheet in action. Watch a free demo. Excel PDF Smartsheet.
education.nsw.gov.au
Student success is too often challenged by a lack of metacognition and ability to self-regulate learning. This commentary argues that the use of self-assessment to increase student metacognition positively impacts student learning and self-regulation. In addition, several strategies for incorporating self-assessment will be presented. College presents students with many challenges—both intellectual and personal. For beginning students, one of the biggest challenges academically is realizing that the strategies used in previous learning situations do not guarantee success. In the past, that hard work resulted in a good grade; it is difficult for the student to reconcile why the same effort does not result in a good grade. As educators, the situation is frustrating because we truly want our students to succeed and because acknowledging and dealing with student unpreparedness takes time away from engaging with the content of our discipline. However, this author argues that by ignoring the former we sacrifice the latter. Furthermore, teaching students to be more effective learners is consistent with national calls in the USA for science students to be taught more than just the content of the discipline.
Free Self-Evaluation and Self-Assessment Templates
Most performance reviews require people to fill out self-assessments as this makes them more active participants in their evaluation. It forces them to think objectively about their performance over the past year and consider key accomplishments, areas for improvement and professional development goals. Filling out a self-assessment is a helpful activity that gives people the opportunity to prepare before speaking to their manager and form their own opinion about how they have performed. This may raise some interesting points that their manager had not considered, or on the other hand, they may find themselves in close alignment. For managers, a self-assessment becomes even more interesting when it comes to leadership skills, to see whether their opinion matches with the feedback they are getting from direct reports.
Involving Students in the Assessment Process
Often if you dread your annual performance review, you are not alone. The chances are that your manager is equally unenthusiastic about the meeting. Numerous studies in the last decade have found that managers and employees alike are sick of the annual charade. Companies are under increasing pressure to up their talent management efforts. The reward-punishment structure of the annual review saps morale. Managers hate conducting them and employees dread them.
Pros and Cons of Employee Self-Assessments
This blog looks at the definition, purpose and benefits of self-assessment and self-reflection in education. It also provides strategies to implement self-assessment and self-reflective tasks in the classroom. It plays an important role in teaching students not just what to learn, but also how they learn and what they can do to improve their learning outcomes. By incorporating tasks that require students to critically reflect on their work, processes and learning style; they are given the opportunity to identify gaps in their knowledge or skill set and achieve greater autonomy and deeper learning and metacognition. Self-assessment and self-reflection involves students reviewing their work and reflecting on their learning progress. This helps students participate in and take ownership of their own learning. Providing opportunities for students to reflect on their work and processes is a valuable way to enhance the learning journey. With the support of a Learning Management System , there are a number of self-assessment and reflective strategies and tools you can implement to help students progress their learning.
Self-Assessment
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In a year in which face-to-face time has been limited or eliminated entirely, many knowledge workers are now finding themselves in the position of preparing self-evaluations. While the big once-a-year sit-down can be fraught with anxiety for employees and managers alike with some even questioning the true value of the yearly check-in , your session can instead be one that ends in alignment and excitement. There are several ways to reduce your stress and boost your outcome so that you both leave your meeting with nothing but optimism for the new year. Generally, prior to your performance review with your manager, you will be asked to complete a self-assessment. You can prepare for this by:.
Employee self-evaluations are useful for helping team members identify their strengths and weaknesses and define a path for professional development. Many employers ask employees to complete self-evaluations as part of their annual or quarterly review process. Asking employees to review their efforts also gives them a chance to recognize areas they may need to improve. Here is some background information on why self-evaluations are so effective, as well as several tips and self-assessment examples to inform your review process. Generally, these assessments cover a specific performance review period, such as a quarter or a year. A self-assessment is only as powerful as the process behind it.
Part of the strength of the TELL Project is its built-in ability for teachers to self-determine how well they currently meet the criteria defined in the Teacher Effectiveness for Language Learning Framework, relative to the growth they would like to make. To assist teachers in this aspect of reflective practice, TELL makes available self-assessment documents that allows an educator to pause and consider their current practice to identify possible areas of professional growth. Effective language learning experiences are carefully orchestrated by a teacher through building relationships with students, working with them to create an environment in which they are safe, can flourish and support the identified learning performance objectives.
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