scholarly journals Peer assessment in musical performance: the development, trial and evaluation of a methodology for the Australian tertiary environment

2004 ◽  
Vol 21 (1) ◽  
pp. 89-110 ◽  
Author(s):  
Ryan Daniel
Keyword(s):  
Student Evaluation ◽  
Peer Assessment ◽  
Music Performance ◽  
Musical Performance ◽  
Evaluation Data ◽  
Music Student ◽  
Performance Context ◽  
Assessment Procedures ◽  
Academic Year

This article outlines the development and trial of peer assessment procedures for implementation within a music performance context in the Australian tertiary environment. An overview of the literature on peer assessment is presented, followed by reference to specific trials of peer assessment within a tertiary music student context. The paper then presents the rationale for and methodology applied in developing two forms of peer assessment of music performance, for trial across one academic year. Student evaluation data obtained via mid- and end-of-year questionnaires are analysed and discussed, as are implications for further research.

The Effect of Anonymous Peer Assessment on Writing Ability of the Eleventh Grade Students at SMK PGRI 1 Singaraja

2018 ◽  
Vol 2 (1) ◽  
pp. 1
Author(s):  
A.P. Adhiyanti ◽  
A.A.I.N Marhaeni ◽  
I.P.I Kusuma
Keyword(s):  
Peer Assessment ◽  
Lesson Plan ◽  
Control Group ◽  
Control Group Design ◽  
Writing Ability ◽  
Group Design ◽  
Writing Test ◽  
Post Test ◽  
The Mean ◽  
Academic Year

  This study aimed to investigate the effect of anonymous peer assessment on students’ writing ability. Quantitative approach was used in this study. Post-test only control group design was the design used in this experimental study. The post-test only control group design was designed to discover the purpose of this study which was to investigate the significant effect on writing ability between students who obtain feedback from anonymous peer assessment and students who obtain feedback from conventional assessment. The study was conducted at SMK PGRI 1 Singaraja. The eleventh grade students in Academic Year 2017/2018 were chosen as the population. The samples were 44 students from XI AP and XI UPW. The instruments used in this study were lesson plan, anonymous peer checklist, writing scoring rubric, and writing test. Writing scoring rubric and writing test were used to obtain the data through post-test while lesson plan and anonymous peer assessment were used during the treatment. The data then was analyzed by using SPSS 16. The results of the analysis show that (1) the mean score of the experimental group was 77.55 while the mean score of the control group was 68.77. (2) The t-observe was 3.892 and it exceeded the t-critical value which was 2.018. Therefore, based on the aforementioned results, it can be concluded that there was a significant difference on writing ability between the eleventh grade students who obtained feedback from anonymous peer assessment and those who obtained feedback from conventional assessment at SMK PGRI 1 Singaraja in academic year 2017/2018. 

The Influence of Assessment on Learning and Teaching

2019 ◽  
pp. 166-185
Author(s):  
Susan Hallam
Keyword(s):  
Communities Of Practice ◽  
Teaching And Learning ◽  
Formal Education ◽  
Peer Assessment ◽  
Real Life ◽  
Summative Assessment ◽  
Learning And Teaching ◽  
The Arts ◽  
Assessment Procedures ◽  
Assessment Research

It is debatable whether it is appropriate to assess performance in the arts. However, formal education institutions and the systems within which they operate continue to require summative assessment to take place in order to award qualifications. This chapter considers the extent to which such summative assessment systems in music determine not only what is taught but also what learners learn. The evidence suggests that any learning outcome in formal education that is not assessed is unlikely to be given priority by either learners or teachers. To optimize learning, the aims and the processes of learning, including formative, self-, and peer assessment procedures, should be aligned with summative assessment. Research addressing the roles, methods, and value of formative, self-, and peer assessment in enhancing learning is considered. A proposal is made that the most appropriate way of enhancing learning is to ensure that summative assessment procedures are authentic and have real-life relevance supporting the teaching and learning process, to ensure that learners are motivated and see the relevance of what they are learning. This might take many forms depending on musical genre, communities of practice, and the wider cultural environment.

scholarly journals Response Style Contamination of Student Evaluation Data

2009 ◽  
Vol 31 (2) ◽  
pp. 160-172 ◽  
Author(s):  
Sara Dolnicar ◽  
Bettina Grün
Keyword(s):  
Student Evaluation ◽  
Response Style ◽  
Evaluation Data

scholarly journals The use of technology in a model of formative assessment

2016 ◽  
Vol 6 (2) ◽  
pp. 91
Author(s):  
Alfonsa García López ◽  
Francisco García Mazarío
Keyword(s):  
Formative Assessment ◽  
Learning Community ◽  
Engineering Students ◽  
Peer Assessment ◽  
Assessment Model ◽  
Mathematical Software ◽  
Online Learning Community ◽  
Use Of Technology ◽  
Student Projects ◽  
Academic Year

This work describes a formative assessment model for the Mathematical Analysis course taken by engineering students. It includes online questionnaires with feedback, a portfolio with weekly assignments, exams involving the use of mathematical software and a project to be completed in small groups of two or three students. The model has been perfected since 2009, and during the 2014-15 academic year the creation of a pilot online learning community was added. Based on Google+, it has been used for a peer assessment experiment involving student projects, among other uses. 

scholarly journals Empathy as a Tool for Embodiment Processes in Vocal Performance

2015 ◽  
Vol 10 (1-2) ◽  
pp. 104 ◽  
Author(s):  
Erin Heisel
Keyword(s):  
Art Song ◽  
Music Performance ◽  
Musical Performance ◽  
Vocal Performance ◽  
Preparation Process ◽  
Healthy Habits ◽  
Role Preparation ◽  
Moral Convictions

One way of understanding empathy in music performance is as a process by which singers closely identify with the characters they encounter and portray in opera or art song. As singers embody these characters, they literally give them voice. Musical performance thus humanizes characters as well as performers and audiences as deeper, empathetic engagement may also reflect or elicit new pathways of growth, knowledge, and understanding. What is the process a singer goes through in empathizing with a character? How can young singers learn to empathize with the characters they are tasked with portraying, even when they may find the characters or their behavior to fall outside of their own moral convictions?  This paper posits that empathy is a necessary part of the role preparation process for singers and introduces the “role journal” as a way for young singers to track embodiment processes and develop healthy habits of empathy and boundaries in their work.

Learning Ethics the Hard Way: Facing the Ethics Committee

1998 ◽  
Vol 25 (1) ◽  
pp. 26-28 ◽  
Author(s):  
W. Brad Johnson ◽  
Rioh'det Corser
Keyword(s):  
Professional Ethics ◽  
Ethical Issues ◽  
Student Evaluation ◽  
Ethics Committee ◽  
Evaluation Data ◽  
Ethical Violations ◽  
Active Feedback ◽  
Formal Complaint ◽  
Teaching Professional

This article describes an approach to enhancing the value of case study material in teaching professional ethics in psychology. The mock committee approach involves a series of hearings convened fry students who rotate membership on a class ethics committee. Members of the class participate randomly as psychologists accused of various ethical violations. While the class observes, formal complaint hearings occur that result in official rulings and the setting of appropriate penalties and remedial requirements. The larger class then joins in active feedback and exchange with the committee to highlight and discuss salient ethical issues. We present and discuss student evaluation data for this technique and comment on the potential advantages of this teaching approach.

Responding to performers

2017 ◽  
Author(s):  
Sinéad O’Neill ◽  
John Sloboda
Keyword(s):  
Music Performance ◽  
Musical Performance ◽  
Multiple Relationships ◽  
Social Phenomenon ◽  
Structural Elements ◽  
Creative Performance ◽  
Peak Experiences ◽  
Creative Practice ◽  
Performance Space ◽  
Different Levels

Musical performance is an irreducibly social phenomenon, manifested through the multiple relationships between performers and audience. In live contexts, the nature and meaning of performance encompass the two-way interplay between performers and audience. This chapter surveys a range of research, from the philosophical to the empirical, into the parameters of this interplay, both during and after performances, focusing most specifically on those aspects that have implications for the creative practice of the musician. These aspects go beyond sound parameters to features of the performance often seen as ‘extra-musical’, such as the visual and gestural aspects of performance, the architecture of the performance space and perceived norms of behaviour within the concert context. Consideration is given to how these elements contribute to different levels of experience, from the ‘basic’ appreciation of structural elements through to the ‘peak’ experiences which music performance sometimes engenders. Also considered is audience feedback, both formal and informal, and how it may have an impact on creative performance.

Developing peer-learning programmes in music: group presentations and peer assessment

1999 ◽  
Vol 16 (1) ◽  
pp. 51-63 ◽  
Author(s):  
Desmond Hunter
Keyword(s):  
Performance Studies ◽  
Teaching And Learning ◽  
Peer Assessment ◽  
Peer Learning ◽  
Learning Techniques ◽  
Group Presentations ◽  
The University ◽  
Department Of Music ◽  
Academic Year ◽  
Major Project

The purpose of this paper is to provide an interim report on one aspect of a major project based in the Department of Music at the University of Ulster. The project, ‘Peer Learning in Music’, builds on the programme of peer assessment which was piloted in a module in performance studies on the BMus course during the academic year 1992–3 and has since become an established feature of the course. The project started in October 1996 and since then peer-learning techniques have been introduced in a range of modules throughout the course, impacting on the teaching and learning methods and the conduct of assessment. Dissemination of the nature of the work and the operation of the programmes is being actively pursued in universities, colleges and conservatories in England and Northern Ireland.

Pages from a sociometric notebook: Reconsidering the effects of selective missingness

2019 ◽  
Vol 43 (6) ◽  
pp. 569-573
Author(s):  
William M. Bukowski ◽  
Melanie Ann Dirks ◽  
Melissa Commisso ◽  
Ana Maria Velàsquez ◽  
Luz Stella Lopez
Keyword(s):  
Latin America ◽  
Missing Data ◽  
Peer Assessment ◽  
Peer Groups ◽  
Participation Rates ◽  
Caribbean Coast ◽  
School Classroom ◽  
Assessment Techniques ◽  
Assessment Measures ◽  
Assessment Procedures

The effects of selective missingness on the size of observed correlations between scores derived from peer assessment procedures were examined with a sample of 719 boys and girls drawn from 57 peer groups in seven schools in Montréal, Québec, Canada or Barranquilla, a city on the northern Caribbean coast of Colombia in Latin America. Peer groups (i.e., the boys or girls within in a school classroom) in which participation rates exceeded 90% were randomly assigned to either a “complete” or a “missing” group. In separate procedures, children whose scores placed them above the 20th percentile for their group were excluded from the “missing” groups on measures of passive withdrawal, popularity, and aggression. When the correlations observed with the “complete” groups were compared with the correlations observed with the “missing” groups, few differences were observed. These findings are discussed within the context of the effects of missing data on peer assessment techniques and the factors underlying the association between different peer assessment measures.

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