Judgmental Standard Setting: The Development of Objective Content and Performance Standards for Secondary-Level Solo Instrumental Music Assessment

Wesolowski, Brian C.; Athanas, Myriam I.; Burton, Jovan S.; Edwards, Andrew S.; Edwards, Kinsey E.; Goins, Quentin R.; Irby, Amanda H.; Johns, Paul M.; Musselwhite, Dorothy J.; Parido, Brian T.; Sorrell, Gary W.; Thompson, Jonathan E.

doi:10.1177/0022429418765482

Cited by 10 publications

(7 citation statements)

References 25 publications

(27 reference statements)

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“…Analytical criteria would be the basis here, rather than the fairly holistic criteria, with place for a variety of interpretations, that can be said to take precedence today. This type of homogeneous proficiency test has been advocated in previous research and proved effective and reliable (Bergee, 2003;Wesolowski et al, 2018). Furthermore, the joint development of a combination of verbalised and instantiated standard for approval suggested by Sadler (2014) could provide the necessary "tuning" and harmonisation of an assessment culture.…”

Section: Discussionmentioning

confidence: 96%

The Discursive Terms of Music/Teacher Education at Four Higher Educational Institutions

Angelo¹,

Knigge²,

Sæther³

et al. 2021

Higher Education as Context for Music Pedagogy Research

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In this chapter, we examine how music/teacher education is represented on the websites of four Norwegian institutions that offer diverse kinds of music/teacher education at the BA, MA, and PhD levels and that offer qualifications for all types of music teaching professions in Norway. These four cases serve as examples of the main traditions of music/teacher educations in the Nordic area, with distinctive differences in their notions of music, pedagogy, professional orientation, and research. The analysis is theoretically grounded in Foucault’s concepts of power/knowledge and governmentality. The findings suggest, on the one hand, considerable variations among the institutions and, on the other hand, similarities in how the representations operate in a range of steering techniques in the ways that these education programs, orientations, groups, and individuals are portrayed. The concluding discussion questions the power/knowledge constructions that provide authority to the dominating discourses, critically pointing to some effects that diverse representations might have for positions, ambitions, and individuals. Getting the diverse communities of music/teacher educations to communicate seems imperative to evolve more reflexive, conscious, and participative music/teacher education programs in the 21st century.

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Section: Discussionmentioning

confidence: 96%

The Discursive Terms of Music/Teacher Education at Four Higher Educational Institutions

Angelo¹,

Knigge²,

Sæther³

et al. 2021

Higher Education as Context for Music Pedagogy Research

View full text Add to dashboard Cite

show abstract

“…Analytical criteria would be the basis here, rather than the fairly holistic criteria, with place for a variety of interpretations, that can be said to take precedence today. This type of homogeneous proficiency test has been advocated in previous research and proved effective and reliable Wesolowski et al, 2018). Furthermore, the joint development of a combination of verbalised and instantiated standard for approval suggested by Sadler (2014) could provide the necessary "tuning" and harmonisation of an assessment culture.…”

Section: Discussionmentioning

confidence: 99%

Facing the Soprano: Uncovering a Feminist Performative “I” Through Autoethnography

Jenssen¹

2021

Higher Education as Context for Music Pedagogy Research

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This article unpacks three auto-narratives drawn from my embodied experiences journeying from soprano to researcher. A feminist theoretical performative “I” is created through the use of performative autoethnography, a position of situated knowledge and Judith Butler’s thinking of gender as performative. I explore the query: How is a singer’s feminist performative I created through autoethnography? By unpacking my lived experiences I establish a connection between the I and the context I live in, referred to as “the Other”. This connection then illuminates how my voice has been constructed and disciplined to that of a normative feminine soprano by attaining and repeating actions from the social-culture context of singing. I also leverage off Butler’s thinking and how it may foreclose the attention to the materiality of the body, and lean into a performative embodied, new perspective. Embracing both the soprano and researcher role I create a position that brings me into a “liminal space”. I do this to better understand the intersection of music education and gender, the becoming of a researcher, researching with the “inside out”, and to embrace the material body’s actual contribution in (to) the web of meanings in the sociocultural context of singing. By carving out a connection between being a soprano and moving into my researcher voice, I offer this article as an expanded way of knowing – a knowing through being. In turn, such insights offer epistemological and ontological ways of thinking for those experiencing similar encounters.

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“…The rubric was developed and the psychometric qualities (i.e., validity and reliability) were tested using the MFR-PC model. The rubric was further tested in the context of a judgmental standard setting procedure (Wesolowski, et al, 2018). The rubric was uploaded into electronic format (Google Forms) and each rater completed one form per student evaluated in real time of the performance.…”

Section: Methodsmentioning

confidence: 99%

An Examination of Differential Item Functioning in a Rubric to Assess Solo Music Performance

Wesolowski

2019

Musicae Scientiae

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The purpose of this study was to examine differential item functioning (DIF) in a rubric used to assess middle-school solo and ensemble performances. This study was guided by the following research questions: (a) does measurement equivalence for all items exist when used to measure subgroups of students based on their musical instrument? (b) what patterns of differential item functioning effects exist for items when used to measure subgroups of students based on their musical instrument? and (c) what size of differential item functioning effects exists for items when used to measure subgroups of students based on their musical instrument? In total, 17 adjudicators evaluated 138 middle-school instrumental students (ages 11–13) in the context of a live, formal solo and ensemble performance assessment. Using the Many Facets Rasch Partial Credit measurement model, measurement equivalence for all items did not exist when used to measure subgroups of students based on their musical instrument ([Formula: see text]2 (252) = 634.00, p < .01). Of the 252 total pairwise interactions examined between items and instruments, 57 (22.62%) significant interaction terms were identified. Overall, 26 (10.3%) significant interaction terms demonstrated a moderate to large effect (|DIF| >/= .63 logits), nine (3.6%) significant interaction terms demonstrated a slight to moderate effect (|DIF| = (.43, .63 logits)), and 22 (8.7%) significant interaction terms demonstrated a negligible effect (|DIF| < .43 logits). Implications for the fairness of music performance assessments and improved assessment protocols are discussed.

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Judgmental Standard Setting: The Development of Objective Content and Performance Standards for Secondary-Level Solo Instrumental Music Assessment

Cited by 10 publications

References 25 publications

The Discursive Terms of Music/Teacher Education at Four Higher Educational Institutions

The Discursive Terms of Music/Teacher Education at Four Higher Educational Institutions

Facing the Soprano: Uncovering a Feminist Performative “I” Through Autoethnography

An Examination of Differential Item Functioning in a Rubric to Assess Solo Music Performance

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