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ASSESSMENT IN THE COLLEGIATE CHORAL CLASSROOM

assessments for the ensemble as a whole. In describing in our ensembles.
the collaborative aspect, Weber stressed working with Clearly there is no one “right” way to assess. Each
the voice faculty through feedback from their rehearsal conductor assesses both the ensemble and the individ-
observations. Weber also stated that her choirs’ accep- ual differently. In turn, we as choral conductors and
tance as performing groups at choral conferences and educators must find our own unique way that fits with
conventions was an ungraded assessment that demon- the identified goals/learning outcomes we have for the
strates learning and mastery. ensemble and the individuals that make up the ensem-
For Weber, assessing the culture of the ensemble is ble. Despite the differences in their answers, one simi-
important to ensure it stays postive. Both Weber and larity between those interviewed was the importance
Bjella mentioned completing post-concert reflections. of the individual singer. In each of the three cases, the
Packwood emphasized the many in-the-moment for- individual’s mastery of the material was essential and
mative assessments that occur based on what he hears. assessed. As the individual singers grow musically, so
Bjella had small sections of the choir listen in the hall will the ensemble.
at the dress rehearsal and provide feedback to their sec- Another similarity was collegiality with the vocal fac-
tion. In assessing the ensemble, the three interviewed ulty. Whether having the vocal faculty sit in on choir re-
mostly use ungraded assessments. hearsals and offer feedback, or the conductor sitting in
In assessing the individual, the interviewees used on vocal juries, teamwork rallying around student suc-
more graded assessments than ungraded. As mentioned cess is clearly important. There are many other forms
above, Weber only tests individuals, not small groups. of assessment that go beyond what the three interview-
All of Packwood’s choral ensemble members take pri- ees discuss. One widely used form of assessment is hav-
vate lessons, and so he includes their vocal jury as part ing the singers record themselves on their device either
of their final grade. His private lesson requirement also during rehearsal within the ensemble or as a practice
doubles as an ungraded assessment because the students track made outside of rehearsal. The conductor or
must take private lessons but are not awarded a grade teaching assistant (TA) can then offer feedback, either
from him. One of the most significant commonalities is written or as recorded comments. Assign the measures
that they all grade on attendance. While attendance is a that will be recorded and assessed, giving the students
non-musical behavior, it has direct implications on the plenty of time to prepare. Like Weber, I have found
musical result. these work well to do in small sections, roughly sixteen-
measure segments.
This process can also be helpful to check for memo-
Conclusion rization if done in the ensemble setting. A similar pro-
As choral conductors, we often model vocally and cess can be used to assess language proficiency. The
through our conducting, but we should also be a model students can record themselves speaking or singing the
of excellent assessment practices. Formalized or not, text, and the conductor or TA can provide feedback.
assessment is something choral directors do constantly. Ideally this whole process is through the institution’s
Grading is only one small part of assessment. Signifi- learning management system to keep assessments or-
cantly, I believe the difference between assessment and ganized.
grading is important, and the two terms need not be Another assessment idea is written reflection or en-
used synonymously. gagement with the music. I have used these successfully
We should all examine our own assessment strategies as Google Forms, again through the learning manage-
to ensure we are modeling best practices. Knowing that ment system. Questions could range from short forma-
multiple students in our ensembles will likely be future tive assessments about objective aspects of music like
music educators, we should aim for alignment of theory note reading, or International Phonetic Alphabet (IPA)
and practice. My hope is that this article has offered identification, to more subjective aspects like informa-
examples of assessment practices that may be effective tion on composers, style, historical considerations, and

40 CHORAL JOURNAL February 2024 Volume 64 Number 6