Using a Prescreening Rubric for All-State Violin Selection: Influences of Performance and Teaching Experience

Abstract

Performance assessment is an integral part of young musicians’ development. Students enrolled in music programs frequently participate in adjudication festivals and many audition for select ensembles. Outcomes of such events are deemed consequential among all concerned: students, parents, teachers, and administrators. Furthermore, the number of all-state applicants for some individual instruments in many states exceeds 100 and in some states approaches or exceeds 200. This is an inordinate number of recordings or live auditions for individuals or judging panels to evaluate. It seems paramount to utilize an efficient yet fair and accurate audition process to assess large numbers of performances in a short period of time. To explore ways of addressing this issue, the authors designed a prescreening rubric with the goal of reducing the number of full-length recordings heard by judges to a more manageable number. The authors then compared ratings of listeners who used the rubric and heard only the étude portion of the audition to scores of trained and experienced judges who heard the entire audition.

Benefits and Challenges of Large-Ensemble Instrumental Music Adjudicated Events: Insights From Experienced Music Teachers

“…Overall, findings from this study support past publications identifying challenges with interjudge reliability at large-group adjudicated events (Brakel, 2006; Garman et al, 1991; Geringer et al, 2009; Hash, 2012; Hewitt, 2007; Latimer et al, 2010; Pope & Barnes, 2015; Rawlings, 2015) and ostensibly at other adjudicated events (Meyers, 2012; Sullivan, 2003). This challenge is still a concern for these Kansas music teachers, music colleagues, and building administrators.…”

“…Music education researchers investigating adjudicated events have conducted many studies assessing student and teacher attitude (Austin, 1988; Hamann, Mills, Bell, Daugherty, & Koozer, 1990; Howard, 1994; Meyers, 2011), improving the reliability of the contest ratings or rankings (Brakel, 2006; Garman, Boyle, & DeCarbo, 1991; Geringer, Allen, MacLeod, & Scott, 2009; Hash, 2012; Latimer, Bergee, & Cohen, 2010; Pope & Barnes, 2015), examining the extramusical influences on student success at adjudicated events (Bergee, 2006; Bergee & McWhirter, 2005; Bergee & Platt, 2003; Bergee & Westfall, 2005), and supporting increased music achievement as a result of participation in an adjudicated event (Austin, 1988; Hurley, 1996). Furthermore, Rohrer (2002) found that adjudicated events have the potential to advance performance standards, shape morale within a music program, increase interest, and provide both students and directors opportunities for improving ensemble quality.…”

Influence of Primary Performance Area, Education Level, and Performance Quality on Pre-Service Music Teachers’ Ratings of String Orchestra Performances

“…Results from prior investigations on the influence of adjudicators' education levels revealed similar evaluations of instrumental performances (Bergee, 1993(Bergee, , 1997(Bergee, , 2003Geringer et al, 2009;Hewitt & Smith, 2004;Lafferty, 1997;Schleff, 1992;Siddell-Strebel, 2007;Simons, 2005), while others concluded that adjudicators' education levels influenced their evaluations of instrumental performances (Blom & Poole, 2004;Brittin, Sheldon, & Tian, 2002;Fiske, 1977;Geringer, Madsen, & Dunnigan, 2001;Hewitt, 2002Hewitt, , 2005. Junior high musicians investigated by Hewitt (2002Hewitt ( , 2005 gave more favorable ratings than high school musicians and expert adjudicators.…”

“…Past investigations on the influence of adjudicators' primary performance area have provided conflicting results. Some researchers found that adjudicators' primary performance areas affected overall music performance evaluations (Fiske, 1977;Roberts, 1975;Thompson & Williamon, 2003;Wapnick et al, 2005), while others indicated that primary performance area did not influence evaluations (Fiske, 1975;Geringer, Allen, MacLeod, & Scott, 2009;Hewitt, 2007;Hewitt & Smith, 2004;Massel, 1978;Mills, 1987;Pope, 2012a;Siddell-Strebel, 2007;Simons, 2005;Winter, 1993). Regardless of performing experience on string instruments, no differences were revealed between music majors with no string instrument experience, secondary string instrument experience (non-string players who completed a string methods course), or primary string instrument experience when assigning ratings to general or string specific evaluation statements (Pope, 2012a).…”

Forum: Collaboration for Our Greater Good

“…We may offer information on research results that can be applied to specific situations. Recently, I was able to provide an Update article (Geringer, Allen, & MacLeod, 2009) that described the use of a pre-screening rubric for allstate violin auditions to our South Carolina Orchestra Division Executive Board. Other than these happenstance events, I wanted to know more.…”