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Performance-Based

Assessments in Choirs

Meagan Dissinger

Oyster Bay High School

Massapequa Park, New York

(Used with permission of the author)

Choirs are uniquely positioned to include performance- evaluating other important areas of musicianship.
based assessments as a part of singer learning and According to the National Association for Music Edu-
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evaluation because performance itself is an integral part cation (NAfME) Music Standards, students in secondary
of music making. Performance-based assessments (PBAs) ensemble courses are expected to, in addition to creating
are assessments “in which the teacher observes and makes and performing, respond and connect to music. One of
a judgement about the student’s demonstration of a skill the objectives provided by NAfME includes the following:
or competency in creating a product, constructing a Musicians should be able to “support personal evaluation
response, or making a presentation.” Unlike exams and of musical works and performance(s) based on analysis, in-
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quizzes, PBAs are a type of authentic assessment, allowing terpretation, and established criteria,” plus “synthesizing
opportunities for singers to show what they know through and relating knowledge and personal experiences to make
activities that mirror the tasks they may encounter in real music,” and “relating musical ideas and works from varied
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life. PBAs are applicable to courses in choir because many contexts to deepen understanding.” I set out to design a
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parallels can be drawn when comparing activities that PBA that would emulate a task expected of professional
young choristers engage in with the career of a professional musicians. It would also give singers an opportunity to
musician. show their understanding of these areas and the greater
In addition to concert performances, choral teachers importance of music making.
may use PBAs in rehearsal. For example, singers can sight I teach in a public school on Long Island. The choirs’
read an excerpt of music as evidence of the ability to read programs are thematic, with the themes chosen by choir
notation in contrast to answering dictation questions. Oth- members. They choose themes that are reflective of their

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er PBAs I conduct in my public-school choir rehearsals are lives and identities. Examples of themes from the last few
asking choristers to perform their parts in quartets (SATB, years include loneliness (inspired by the pandemic), BIPOC
one voice on each part) and inviting student conductors composers, songs about liberation, religion, and environ-
(students in the choir) for warm-ups. PBAs of this nature mental consciousness. Once the theme is chosen, I design
provide an opportunity for me to assess music literacy and the program with the assistance and approval of the choris-
a knowledge of repertoire; however, they fall short when ters. I choose repertoire that is reflective of the abilities of

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