The Oxford Handbook of Assessment Policy and Practice in Music Education, Volume 1

Cover\nTHE OXFORD HANDBOOK OF ASSESSMENT POLICY AND PRACTICE IN MUSIC EDUCATION, VOLUME 1\nCOPYRIGHT\nDEDICATION\nCONTENTS\nLIST OF CONTRIBUTORS\nPART I:  ASSESSMENT POLICY IN MUSIC EDUCATION: POLICY AND PHILOSOPHY\n	Chapter 1: Assessment Policy in Music Education\n		US Policy on Testing Until World War II\n		Educational Reform after World War II\n			Well-Known Reforms, with and Without Assessment\n		Policy\n		Tests and Accountability\n			Music Assessment outside the United States\n			Policy and Assessment in the United States\n			Two Reform Assessment Issues\n		PreK-12 Music Assessment in the United States\n		Connecting Policy and Music Assessment\n		Influence on Music Teacher Education\n		Note\n		References\n	Chapter 2: The Philosophy of Assessment in Music Education\n		Movement I: We Must Have Assessment\n			Jingle All the Way\n			Proving Learning and Teaching\n			Tasting the Soup\n			Accountability, Mandated Tests, Improvement\n		Movement II: As the World Turns\n			Regulation from Within or Without?\n			We’re in This Together\n		Movement III: Interlude\n			What Are Our Metaphors?\n		Movement IV: Truth or Consequences?\n			Assessing Assessment\n			What Would Foucault Say?\n		Movement V: It’s a Mad, Mad, Mad, Mad World\n		Notes\n		References\n	Chapter 3: Educational Policy and Assessment in Music\n		The Growing Role and Impact of Educational Policy Thinking and Practice\n		The Presence of Assessment in Educational Reform and Decision-Making\n		Assessment and Policy as Forms of Educational Governance\n			Policy and Assessment in the Public Sphere\n		The Intersection Between Education Policy and Assessment\n			Rationales, Constituencies, and Codependence\n			The Institutionalization of Assessment as Policy Norm\n			Cui Bono?\n			Reordering the Nature of Learning\n			Can Assessment Policy Be Smart?\n		Policy, Assessment, and Ethics\n			Policy and Assessment as Critical Listening\n			The Struggle Between Pragmatics and Conceptualization\n			Values, Economics, and Decision-Making\n			Policy, Assessment, and the Creation of Quality\n		Policy and Assessment Process: From Agenda to Implementation\n			The Challenges of Establishing Parameters and Tracing a Course\n			Learning to Follow Through\n			Feasibility, Influence, and Institutional Constraint\n			Understanding and Gaining Greater Access to Decision-Making\n			Why Processes Matter\n			Why Awareness Matters\n		Closing Thoughts: Policy and Assessment in an Activist Context\n			The Role of Networks in Establishing Better Practices\n			Puzzling Current and Innovative Practice\n			Understanding When the Tail Is Wagging the Dog\n		Notes\n		References\nInternational Perspectives\n	Chapter 4: Music Assessment Policy in Africa\n		Prelude: Positing Music Assessment Policy That Commands Africa- Conscious Heritage Integrity\n		Then: The Spiritual Saturated Worldview to Oversee Humanning Knowledge Policies and Dissemination\n		Now : The Reign of the Techno-Economy Controls and Dazzles Life, Inventing Dehumanizing Knowledge Policies and Productions\n		Assessment Policy in Indigenous African Musical Arts and Soft Science Education—Humanity-Based Polity Framing\n			Delimitation\n				Modern Assessment Policy Pointers\n			Intended Humanity/Societal Utility Outcomes\n				Modern Assessment Policy Pointers\n			Performance Composition\n				Modern Assessment Policy Pointers\n			Participation\n				Modern Assessment Policy Pointers\n			Solidarity Agenda of Age/Group Criteria\n				Modern Assessment Policy Pointers\n		Africa in Global Assessment Policy Interventions\n			Northern Hegemonic Curricula and Assessment Policy Constructs\n			Cultural and Human Integrity of Current African School Music Education\n			The Roles of Literature and Modern Technology in Transmission and Assessment\n		Samples of Current Assessment Policy Integrity in African Countries\n			Human-Focused Imperatives of Interactive Music Education Assessment Policy in Schools\n			Cultural Background of Official Attitude Toward Musical Arts Education in Schools\n			Extrinsic Factors That Continue to Suppress Culture-Based Music Education and Assessment Policies in Africa\n			Diagnosis of the Sense of Current Assessment Policies\n			Samples of African Policy\n				East Africa—Uganda, Tanzania, and Kenya\n				Nigeria\n				South Africa\n		Positing Humanity-Sensitive Assessment Policy for Purposive Classroom Education in the Musical Arts and Science\n			Trans-African, Intercultural/Multicultural Collaboration in Policy Rationalizations\n			Cultural Integrity and Regeneration\n			Attaining Human-Focused Assessment Policy\n			Reorienting the Knowledge Competence of Trainers and Assessors for Viable Advancement\n		Conclusion\n		Acknowledgments\n		Notes\n		References\n	Chapter 5: Curriculum-based policy in music assessment: Asian Perspectives\n		Curriculum-Based Music Assessment Policies\n			China\n				Summary\n			Hong Kong\n				Summary\n			Japan\n				Summary\n			Singapore\n				Summary\n			South Korea\n				Summary\n			Taiwan\n				Summary\n		Discussion\n			Policy: Shared Features\n				Policies Emphasize the Value of Assessment; in Particular, the Use of Multiple Assessments\n				Use of Ranking Systems to Present Assessment Results; Positive Interpretations of Assessment Data\n				Curricula Are Performance-Standard Orientated, Facilitating the Implementation of Assessment Protocols\n			Challenges\n				From Policy to Practice\n				On Assessing Artistic Ideals of Music\n			Trends and Issues\n				Assessment Redefined\n				Teacher Empowerment\n				Global Thinking Versus Local Features\n		Conclusion\n		References\n	Chapter 6: Assessing Music Teaching and Learning in Spanish-Speaking Countries in South America\n		Historical Foundations\n			Spanish Colonial Educational Influences\n			Common Principles, Rules, Facts, Examples, and Conflicts in South America During the Independence Days of the Early 19th Century\n		Music Education in South America\n			The Concept and Meaning of Music Education in General Compulsory Education\n			Professional Training: Institutions and Degrees\n				Artistic Training\n				Specialists in School Music Education\n			Details About Laws and Regulations with Policy as Focus\n		Principles of Assessment in Music Education\n			Relevant Examples in General Education\n			Professional Training Programs\n				Artistic Training\n				Teacher Training\n		Assessment in Specific Countries\n			Argentina\n			Chile\n			Venezuela\n		Contemporary Relevant Issues and Conclusions\n			Conflicts in Artistic Education Assessment\n				Gratuity Versus Payment in Higher Education\n				Free Admission Versus Talent Selection\n				“Ideological Rationales” Behind Political Issues\n			Challenges in Policies, Planning, and Assessment of Music in the General Compulsory System of Education\n			Conclusions and Questions for Future Research, Analysis, or Study\n		Note\n		References\n			Official Documents\n				Argentina\n				Chile\n				Colombia\n				Peru\n				Venezuela\n	Chapter 7: Assessment Policy and Music Education: Perspectives from North America\n		Toward a Definition of Assessment Policy\n			The Nature of Policy and Its Frameworks\n			Assessment Policy Types\n				Explicit Policy Types\n				Implicit Policy Types\n			Defining Assessment Policy\n		Issues for Music Education Arising from Assessment Policy\n			Policies Surrounding Music as a Basic/Core/ Well-Rounded Subject\n				Background for ESSA\n				ESSA and Assessment Policy\n				Issues as ESSA and Music Education Intersect\n				Summary\n			Teacher Certification\n				Background\n				Jurisdiction for Teacher Certification and Assessment Policies\n				Issues as Certification Policies and Music Education Intersect\n		Trends in Policymaking Affecting Assessment in Music Education\n			Decreasing Federal Government Involvement\n			Extension of Educational Agendas Across Boundaries\n			The Increasing Power of Music Education Advocacy Groups\n		Notes\n		References\n	Chapter 8: Music Assessment in Australian Higher Education\n		Australian Higher Education Regulatory Context\n		Setting Standards\n		Pretertiary Assessment in Music\n		Broad Categories of Assessment\n		Summative and Formative Assessment\n		Informal Assessment\n		Formal Assessment Practices\n			Assessment in Nonperformance Music Courses\n			Recital Performance\n			Group Assessment\n			Participatory Assessment\n			E-assessment\n		Informal Assessment Practices\n		Conclusion\n		Notes\n		References\nNational Perspectives\n	Chapter 9: Assessment Policy and Practice in Secondary Schools in the English National Curriculum\n		The Policy Background to Assessment in Music Education in England\n		The Organization of Music in English Secondary Schools\n		The Role of the Office for Standards in Education—Policing Education in England\n		Progress, Progression, Attainment\n		The Role of Assessment in Accountability\n		Implications for Policy and Practice in Secondary School Music Classes\n		Note\n		References\n	Chapter 10: Assessment in German Music Education\n		Assessment in Music in German Music Education from a Historical Perspective\n		Current Situation of Assessment in Music\n		Bildung as a Fundamental Category in German Education\n		Current Assessment Practice in Schools\n		Research on Assessment in Germany\n		Using Assessment to Research External Factors in Education\n		Notes\n		References\n			Online resources\n	Chapter 11: Assessment of Music Learning in the Italian Education System\n		Music Curricula in the Italian Education System\n			Music Teaching and Its Evolution\n			Basic Education (Kindergarten, Primary, and Junior High)\n			Senior High School\n			Conservatories and Universities\n		Assessment in the Italian Education System\n			Historical and Evaluative Overview\n			The Current Legislative Framework\n		Assessment of Music Learning: Overview\n			Primary Education (Kindergarten, Primary, and Junior High Schools)\n			Senior High Schools for Music and Dance, and Others\n			High-Level Arts and Music Education Institutions (AFAM)\n		Conclusion\n		References\n	Chapter 12: Music Education Assessment Policy and Practice in Turkey\n		Introduction\n		Foundations of Music Education in Turkey\n		Music Assessment at Primary Schools in Turkey\n			Brief History of Music Education at the Primary-School Level in Turkey\n			Assessment in the Primary-School Music Curriculum\n		Music Assessment at Secondary Schools in Turkey\n			Assessment in the Secondary-School Music Curriculum\n			Assessment in the High Schools of Fine Arts Music Departments\n		Music Assessment at the College Level in Turkey\n			Assessment in Music Teacher Training Schools in Turkey\n			Assessment in Music Departments at Colleges of Fine Arts in Turkey\n		Music Assessment at Conservatories in Turkey\n		Audition Process for Music Schools in Turkey\n			How Music Schools Accept/Recruit Students in Turkey\n			A Critique of the Audition Process for Music Schools in Turkey\n		Conclusion and Recommendations\n		Notes\n		References\n	Chapter 13: Curriculum and assessment in music education in russia: Perspectives from the Past and the Present\n		Historical and Political Contextual Influences\n			Education During the Imperial Period\n			Education During the Soviet Era\n			Education in the Post-Soviet Era\n			New Reforms and New Standards\n		Current Structure of the Russian Educational System\n			Preschool Education\n			General Education\n			Higher Education\n		Music Schools\n			Special Music Schools\n		Music Education Curriculum\n			Kabalevsky’s Method\n			Other curricula\n		Assessment and Evaluation in Russia\n			Classroom Assessments\n			Assessment in the Music Classroom\n			Assessment of Preservice Music Teachers\n				Course Assessment\n				State Examinations\n				Challenges and Future of Assessment\n		Conclusion\n		References\n	Chapter 14: Brazilian Policies on Education Assessment: Higher Education Perspectives\n		Introduction\n		Higher Education Assessment\n			ENADE Music\n		Postgraduate Assessment\n		Conclusion\n		References\n	Chapter 15: Assessment in Music Classes in China\n		Introduction and Overview of the Education System in China\n			Historical Background\n			Current School Setting and Music Education\n			The Current Education System in China\n		The Context of National Music Curriculum Standards for Compulsory Education\n		The Content of the National Curriculum Standards for Elementary and Middle School\n		The Content of the National Music Curriculum Standard for Senior High School\n			The Objective\n			The Content\n		Current Music Education and Assessment Practice in China\n			The Portfolio Assessments\n				Teachers’ Self-Evaluation\n				Teachers’ Reflection Journals\n		Discussion and Recommendations\n		Appendix 15.1: The Portfolio Assessments: Teachers’ Self-Evaluation\n		References\n	Chapter 16: Policy and Practice of Assessment in Music Education: The Case of Singapore\n		National Music Curriculum, Program, and Assessment System\n			Cocurricular Activities and Singapore Youth Festival\n		Private Music Instruction and External Examination Boards\n			Independent Studio Teachers\n			Commercial Music Schools\n			External Music Examination Boards\n			The Singapore Performers’ Festival\n		Interweaving National and Private Music Education Assessment Systems\n		Moving Forward\n			Assessment Supporting Equity and Wide Access to Musical Practices\n			Assessment That Drives Meaningful Curricular and Pedagogical Practices\n		Appendix 16.1: Extract from the General Music Programme (GMP) Syllabus\n			Assessment\n		Appendix 16.2: Assessment Objectives of 2016 O Level Music (6085)\n		Appendix 16.3: Examination Board Summaries\n		References\n	Chapter 17: Assessment Policy and Practice in Music Education in Taiwan, Republic of China (ROC)\n		Introduction\n		Artistic Talent Music Programs\n			Admissions to the Artistic Talent Music Programs in Elementary and Junior High Schools\n			Joint Admissions to the Artistic Talent Music Programs in Senior High Schools\n		College Joint Admissions (First Year)\n			Dictation Test\n			Music Theory Test\n			Sight-Singing Test\n			Majors Test\n			Minors Test\n		Music Assessment Related Regulations for Compulsory Education\n		Literature Related to Music Assessment in General Music Instruction\n			Test-Development-Driven Literature\n			Instructional Assessment-Oriented Literature\n			Other Literature\n			Summary\n		Discussion and Implications\n		References\n	Chapter 18: Music Assessment Policy and Practice in the United States\n		National Influences\n		State and Regional Influences\n		Local Influences\n		Voluntary National Standards\n		Testing Companies\n		Other Influences\n		Conclusion\n		References\nPART II: MEASUREMENT: THEORETICAL FOUNDATIONS\n	Chapter 19: Psychometric Considerations for Music Performance Assessments\n		Introduction\n			Assessment in the Era of Accountability\n			Performance Assessments\n		Music Performance Assessment\n			NAEP Music Assessment\n			State Music Assessments\n			Student Learning Objectives\n		Design and Scoring Features That Affect Psychometric Properties of Music Assessments\n			Argument-Based Approach to Validity\n			Principled Approach to Music Assessment Design\n		Psychometric Considerations in the Design of Music Performance Assessments\n			Comparability\n			Generalizability of Scores\n			Rater Effects\n			Classification Accuracy and Consistency\n		Conclusion\n		References\n	Chapter 20: Validity, Reliability, and Fairness in Music Testing\n		Validity\n			General Considerations and Definitions\n			History and Definitions of Validity Theory\n			The Criterion-Based Model of Validity\n			The Content-Based Model of Validity\n			The Construct-Based Model of Validity\n			A Unified Model of Validity\n			Sources of Invalidity\n		Reliability\n			General Considerations and Definitions\n			True Score Reliability Estimates\n			Replications Across Administrations: Stability Reliability Coefficients\n			Replications Across Alternate Forms: Equivalence Coefficients\n			Replications Across Items: Internal Consistency Coefficients\n			Split-Half Methods\n			Methods Based on Item Covariances\n				Alpha-if-Deleted Statistics\n			Modern Measurement Theory reliability coefficients\n			Reliability Estimates Based on Generalizability Theory\n			Reliability Estimates Based on Item Response Theory\n		Fairness\n			General Considerations and Definitions\n			Threats to Fairness in Testing\n			Clarity in Operational Definitions\n				Differential Facet Functioning\n				Bias\n			Maximizing Fairness Through Changes to the Testing Procedure\n			Fairness Considerations in Rater-Mediated Assessments\n		Thinking Holistically About Validity, Reliability, and Fairness in Music Assessment\n		Final Thoughts\n		Note\n		References\n	Chapter 21: Classical Test Theory and Music Testing\n		Origins of Classical Test Theory\n		Principles and Assumptions of Classical Test Theory\n		Reliability and Validity\n			Reliability\n			Validity\n		Applications of Classical Test Theory to K-12 Music Education Assessment\n			Level of Measurement\n			Reliability and Validity Enhancement\n			Item Analysis\n		Strengths, Limitations, and Extensions of Classical Test Theory\n		References\n	Chapter 22: Item Response Theory and Music Testing\n		Latent Measurement\n		Item Response Functions and Item Characteristic Curves\n		Constructing Interval Units on the Continuum: Log Odds Units\n		Assumptions of Item Response Theory\n			Parameter Invariance\n			Unidimensionality\n			Local Independence\n		Common Item Response Theory Models\n			One-Parameter Logistic Model\n			Two-Parameter Logistic Model\n			Three-Parameter Logistic Model\n			The Rasch Model\n		Item Information Function\n		Test Information Function and Standard Error of Measurement\n		Procedures for Estimating Ability\n		Likelihood Function\n		Common Models for Polytomous Response Items\n			The Partial Credit Model\n			The Rating Scale Model\n		Multidimensionality\n		Substantive Implications for Measurement and Evaluation in Music\n		References\n	Chapter 23: Theories and Practices of Sequential Curriculum Alignment: Curriculum Design and Assessment for a 21st-Century Education Through Music\n		Introduction\n		Philosophical Frameworks of Curriculum Development: A Historical Overview\n		Bloom’s Taxonomy of Educational Objectives: The Cognitive and Affective Domains\n		Components of Curriculum Design\n			Subject/Skill-Centered Curricular Design\n			Learner- or Student-Centered Curricular Design\n			Two-Dimensional Curricular Design\n		Philosophical Influences on Curricular Design\n			Aesthetic Music Education\n			Practical or Praxial Approaches to Music Education\n		The Development of National Music Standards\n		Current Curricular Design Models\n			Understanding by Design\n				Step 1: Identify Goals, Standards and Curricular Expectations\n				Step 2: Determine Evidence of Learning Acquisition\n				Step 3: Instructional Design\n			Learning Theory and Pedagogy\n			21st-Century Skills\n			Implications for Professional Development\n		Processes for Designing a Curriculum\n			The Alignment Loop\n				Components of the Alignment Loop\n					Component 1: Standards\n					Component 2: Needs Assessment\n					Component 3: Resources\n					Component 4: Professional Development\n					Component 5: Class and Ensemble Instruction and Assessment, Formative and Summative\n					Component 6: Data Collection and Analysis\n					Component 7: Teacher Evaluation\n					Component 8: Teacher Self-Reflection\n		National and International Standards and Curriculum\n			Summary of Respondents’ Commentary\n		Summary: Implications for Visionary, Strongly Aligned Curriculum and Assessment\n		References\nTest Development\n	Chapter 24: An Overview of Music Tests and Their Uses\n		Tests of Talent and Aptitude\n		Music Achievement Tests\n		Music Appreciation and Preference\n			Aesthetic Judgment and Taste\n			Tests of Emotion Stimulated by Music\n				The Measurement of Emotional Response to Music\n		Performance\n			Sight-Singing\n			Instrumental Performance\n			Choral Music\n			State Music Contests in the United States\n			Other Tests of Performance\n		Creativity\n		Tests Used for Teacher Evaluation\n		Teacher Certification Tests\n		Other Uses of Music Related Tests\n		Conclusion\n		References\n	Chapter 25: Developing Tests of Music Performance Improvisation\n		Introduction\n		Test of Ability to Improvise (TAI)\n			Administering the TAI\n			Scoring the TAI\n			Establishing the Assessment Criteria\n				Instrumental Fluency\n				Musical Syntax\n				Creativity\n				Musical Quality\n				Musical Syntax\n				Creativity\n				Musical Quality\n				Final Scoring Method\n			Reliability and Validity\n			Original Study Sample\n		Test of Ability to Improvise\n			Repeated Attempts on the TAI\n			Analysis of Transcriptions of Student Responses\n				Closing Phrase 1 and 2\n				Rhythm\n				Motif 1 and 2\n				Accompaniment\n				Freely Conceived\n		Conclusions\n		References\n	Chapter 26: Assessment of Creative Potential in Music\n		Important Concepts in the General Literature and in Music\n			Questions of Definition: “Creativity” and “Creative Potential”\n				Creativity\n				Creative Potential\n			Naïve Versus Expert\n			Product, Process, Person, and Place\n			Measures of Creativity and Divergent Thinking Tests\n		Approaches to the Assessment of Creative Potential in Music with Younger Children\n			Early Approaches\n			More Recent Developments\n				Measure of Creative Thinking in Music, Version II (MCTM-II).\n				Independent Research Studies Using MCTM-II\n				Music Expression Test\n		New Directions Needed\n		References\n			Independent research using mctm-ii\n	Chapter 28: The Development of Standards-Based Assessments in Music\n		The Purpose of Standards in Music Education\n			Local (School and District) Policy Effects on Standards-Based Assessment\n			Overview of National Standards in the United States\n			Interaction Between Standards and Curriculum\n		Standards-Based Assessments in the United States\n			Philosophical Changes\n			Past Assessment Projects and Initiatives\n				National Assessment of Educational Progress (NAEP)\n				National Music Standards in PK-12 Education\n		The Development of Current Standards-Based Assessments\n			Model Cornerstone Assessments\n		Standards-Based Music Assessments in Global Contexts\n			International Baccalaureate Program\n			Learning Metrics Task Force\n		Standards-Based Assessment in an Environment of Educational Accountability\n		References\n	Chapter 29: Cross-Cultural and Standards-Based Assessment of the African Musical Arts\n		Introduction: Cross-Cultural Understanding and Cross-Cultural Dialogue\n			The Effect of Globalism on Music Education\n		Motivating an International Generic Structured Framework\n			The Structure of the Evaluation System\n			Authentic Recontextualization\n		Methodology and Approaches\n		Positioning Standards and Standards Levels in a Generic Cross-Cultural Framework\n		Presenting the Proposed Standards\n			Setting Standards Levels: Processes and Procedures\n		The Generic Cross-Cultural Assessment Framework for African Musical Arts\n		Conclusion: The Way Forward\n		Appendix 29.1: The Generic Cross-Cultural Assessment Framework for African Musical Arts\n		Notes\n		References\nPART III: ASSESSMENT IN HIGHER MUSIC EDUCATION\n	Chapter 30: Music Assessment in Higher Education\n		The Assessment of Music Learning in Higher Education: A Philosophical View\n			Other Considerations for Assessment of Music Learning\n		Historical Views of Assessing Learning in Higher Education\n			The United States\n			The Ongoing Challenge\n		Assessment of Music in Higher Education\n			Music Assessment in the United States\n				Regional and Disciplinary Accreditation as an Assessment Driver\n			Institutions Outside the United States\n			International Perspectives of Assessment in Music in Higher Education\n				Brazil\n				Australia\n				Europe\n				The United Kingdom\n			Conceptual Considerations for Guiding Music Assessment in Higher Education\n		Aligning Assessment with Instruction to Enhance Student Learning\n			Methods of Assessment\n			Programmatic Assessment Plans\n			Challenges to Assessment\n		The Future of Music Assessment in Higher Education\n		References\n	Chapter 31: Assessment of Preservice Music Educators\n		Themes\n		Benchmarks and Gateways\n		Research in Preservice Teacher Assessment\n		Legislation and Policy\n		Standardized Measures of Preservice Teaching\n		Preservice Teacher Performance Assessment\n			edTPA\n		The Musician/Teacher\n		Assessment of Dispositions\n		The Artistry of Teaching\n			Survey Beta Test\n			Beta Test Outcomes\n		Implications and Future Considerations\n		References\n	Chapter 32: Using Accountability to Improve Student Learning in Higher Education Music Programs\n		Government Oversight and Accreditation\n		Central and South America\n			Europe\n			United States of America\n				Specialized Music Accreditation\n		Assessment and Documentation Best Practices\n			Backward Design Curriculum\n			Assessment Strategies\n			Accreditation Standards for Program Improvement\n				Faculty Dialogue Through Curriculum Mapping\n		Summary and Conclusions\n		References\n	Chapter 33: Assessment in the Applied Studio in Higher Education\n		Overview\n			Student and Teacher Perceptions and Behaviors\n		Assessment of Musical Performance in the Applied Studio\n			Self-Assessment\n			Peer Assessment\n			Suggestions for Moving Forward\n		Assessment of Applied Studio Teaching\n			Future Directions\n		Conclusion\n		References\nPART IV: MUSIC TEACHER EVALUATION\n	Chapter 34: Music Teacher Evaluation: An Overview\n		Introduction\n		The Age of Accountability and the Music Educator\n			Context, Policy, and Politics\n			Issues, Criticisms, Concerns, and Questions\n		Effective Music Teaching\n			Definitions of an Effective Educator\n			Dispositions, Traits and Characteristics of the Effective Music Educator\n		Role of Evaluation\n		Historical Perspectives on Music Teacher Evaluation\n			Taebel’s Agenda for Music Teacher Evaluation\n		Recent Trends in Teacher Evaluation\n			Student Test Scores and Value-Added Modeling\n			Student Learning Outcomes and Evidence of Student Learning\n			Observation of Teaching and Performance\n			Self-Evaluation and Reflection\n			Other Approaches to Teacher Evaluation\n			Multiple or Multifaceted Measures\n		A Framework for Evaluating a Music Teacher Evaluation System\n			Summary of Existing Criteria for Effective Music Teacher Evaluation\n			Context, Input, Process, Product Model\n			A Framework for Evaluating Music Teacher Evaluation Criteria\n		Conclusion\n		References\n			Appendix—Bibliography of Additional Resources\n	Chapter 35: Observations of Music Educators for Teacher Evaluation\n		Historic and Current Practices in Teacher Evaluation\n			Twenty-First-Century Changes to Teacher Evaluation\n			Teacher Evaluation Models and a Growth Mindset\n				Professional Growth\n			Variety in Observation Formats\n		Differences in Music Observations\n			Variety in Teaching Settings\n			Pre- and Postobservation Conferences\n			An Informed Observation\n		A Resource for Music Teachers’ Observations\n			Music Teacher Evaluation Workbooks\n		The Observation Experiences of Music Educators\n			Observations in Music Education\n			What Music Teachers Think About Observations: Survey of K-12 Music Educators in the United States\n				Research Method\n				Demographics\n			Supervisory Models\n			Observation Types and Frequency\n			Preobservation Conferences\n				Postobservation Conferences\n				Informed Feedback\n				Personal Satisfaction with the Observation Process and Suggestions for Changes\n			Discussion\n				Pre- and Postobservation Conferences\n				Personal Satisfaction\n		Toward More Meaningful Music Observation Practices\n			Increasing Opportunities for Informed Feedback\n			A More Meaningful Observation Instrument\n			Content Expertise Evaluators\n			Focus on All Students and All Teachers\n		References\n	Chapter 36: Music Teacher Evaluation and Student Growth in Music\n		The Legislation\n		Multiple Measures Systems\n			Common Components\n			The Construction of Multiple Measures Evaluation Systems\n			State Options for the Measurement of Student Growth\n				Student Learning Objective Systems\n				Other Measures—Standardized Assessments\n				School-wide Collective Measures of Performance\n		An Alternative System Developed by Arts Educators: The Tennessee Fine Arts Portfolio Model\n			Background of the Portfolio Student Growth Measures System\n			Framework Development\n		Teacher Submission Components\n			Peer Review\n				Scoring\n			Reflections on the Tennessee Fine Arts Portfolio Model\n		Summary\n			Student Growth Portfolios beyond the Tennessee Fine Arts Model\n		Final Thoughts\n		References\n	Chapter 37: Measuring Dispositions in Preservice Music Educators\n		Review of Interest in and Conceptualizations of Professional Dispositions\n			Overview\n			Influence of the Standards Movement\n			Lack of Clear Conception in Standards Documents\n			Theoretical Frameworks as a Basis\n			Issues in Defining the Term “Disposition”\n				Fixed or Variable?\n				Cognition or Behavior?\n			Beliefs\n			Assessment of Dispositions\n			Caring, Reflection, and Responsibility\n		Summary\n		Grounding Work and Rationale\n			Current Practices in Music Teacher Education Programs\n				Emerging Applications of Disposition Statements\n				The Analysis of Disposition Assessment in Eleven Exemplar Programs\n				Reliability and Validity\n		Measurement Instruments\n			Review of Psychometric Instruments\n			Specific Dispositions to Study in Music Preservice Educators\n				Participants\n				Analyses\n			Examples of Items\n			Findings\n		Future Directions\n		References\n	Chapter 38: Challenges to Reliability and Validity in the Evaluation of Music Teaching\n		Validity and Reliability\n		Teacher Evaluation\n			Purposes of Evaluation\n			Evaluation Systems\n			Validity of Observations\n			Reliability of Observations\n		Multiple Measures in Teacher Evaluation\n			Evaluating Teachers in Nontested Subjects/Grades\n		Evaluation of Music Teachers\n			Music Teacher Evaluation\n				Opportunity to Learn: Widely Varying Responsibilities and Expectations Among Teachers Across and Within Schools and Districts\n				Differences in Socioeconomic Status and Advantages\n				Evaluators’ Limited Understanding of Music Performance, Music Standards (for Both Teachers and Students), and the Appropriate Roles of Music Teachers\n				Lack of Evaluation Instruments That Are Aligned with Music Teaching Standards\n		Recommendations for Improving Validity of Music Teacher Evaluation\n		Summary\n		Notes\n		References\nIndex