Arts Publications
Topic: RSS FeedMusic Teachers National Association Assessment Tools for the Independent Music Teacher
American Music Teacher, August-Sept, 2004
SELF-ASSESSMENT TOOL 1
MTNA SELF-ASSESSMENT TOOL
for the Independent Music Teacher
MTNA offers this assessment tool to provide music teachers with an
instrument to evaluate their teaching. An individual teacher, either in
an independent studio or in a college studio, could utilize the
self-assessment tool. The rating scale ranges from 1 = needs improvement
to 5 = satisfactory.
I. TEACHER ASSESSMENT Needs Improvement Satisfactory
A. Am I pursuing personal growth in my teaching?
1. Spending time with the music to discover 1 2 3 4 5
new literature and understand style.
2. Continuing to practice and perform myself. 1 2 3 4 5
3. Discovering further technical approaches and 1 2 3 4 5
theories.
4. Reading books and articles. 1 2 3 4 5
5. Attending classes and workshops. 1 2 3 4 5
6. Attending concerts. 1 2 3 4 5
7. Listening to recordings. 1 2 3 4 5
8. Actively participating in music associations. 1 2 3 4 5
B. Is my business plan well thought out and successful?
1. How would I rate my relationships with:
Parents? 1 2 3 4 5
Students? 1 2 3 4 5
Other teachers? 1 2 3 4 5
2. Is my studio inclusive of students and 1 2 3 4 5
families from varied backgrounds, cultures
and capabilities?
3. Have I devised policies that allow me to be 1 2 3 4 5
flexible while upholding my business needs?
4. Do I have a clear studio policy statement? 1 2 3 4 5
5. Have I inquired about standard business 1 2 3 4 5
procedures in my locale?
6. Are my rates current and representative of 1 2 3 4 5
my education and experience and appropriate
to the area in which I teach?
7. Are my lessons on time and free from 1 2 3 4 5
distractions?
C. Am I presenting myself well?
1. Have I thought through and expressed a 1 2 3 4 5
philosophy about the study of music?
2. Am I planning ahead to present well thought 1 2 3 4 5
out lessons and activities?
3. Am I watchful for the natural physical and 1 2 3 4 5
mental changes in my students and
responding to them?
4. Do I show honest enthusiasm/excitement about 1 2 3 4 5
the music, about the student's learning
process and about the student personally?
5. Am I providing a good role model by my 1 2 3 4 5
continued education and involvement in
musical activities?
6. Do I listen and respond to student or 1 2 3 4 5
parental concerns about business or the
learning process?
7. Is my attitude positive and inspirational? 1 2 3 4 5
8. Am I creative? 1 2 3 4 5
9. Do I look my best? 1 2 3 4 5
D. Have I provided the "triangle" approach where appropriate?
1. Do I communicate well with parents-report 1 2 3 4 5
cards, parent/teacher conferences,
telephone calls, letters?
2. Do I inform parents about the necessity for 1 2 3 4 5
their involvement in setting a regular
time for practice?
3. Do I encourage parents to help the child 1 2 3 4 5
practice?
4. Do I inform parents of the appropriate 1 2 3 4 5
physical setting at home?
E. Am I doing my part in promoting music in my community?
1. Do I plan programs for community attendance? 1 2 3 4 5
2. Am I attending as many musical events as 1 2 3 4 5
possible?
3. Am I informing my students and families of 1 2 3 4 5
these programs?
II.STUDIO ENVIRONMENT ASSESSMENT
A. Do I keep my studio running in an organized and professional manner?
1. Studio Brochure yes no
2. Studio Business Card yes no
3. Phone/Answering Service yes no
4. Parent/Student Information Sheet yes no
5. Lesson/Class Offerings Information Sheet yes no
6. Fee Schedule yes no
7. Parent Policies yes no
8. Student Policies yes no
9. Practice Policies yes no
10. Discipline Policies yes no
11. Payment Policies yes no
12. Parent/Student Contract yes no
13. Studio Calendar yes no
14. Studio Website yes no
15. Billing System yes no
16. Studio Budget yes no
17. Filing/Record Keeping yes no
18. Tax Software/Accountant yes no
19. Studio Insurance (MTNA) yes no
20. Studio Credit Line (MTNA MasterCard) yes no
21. Relationship with Music Dealer (Local and yes no
Online)
22. Waiting/Referral List yes no
23. Professional Contacts/Organizations yes no
B. Use of instruments
1. Maintain instruments 1 2 3 4 5
2. Teach students to understand the instrument 1 2 3 4 5
3. Use digital instruments 1 2 3 4 5
C. Do I provide computers and technology in an instructive and
educational manner?
1. Internet Access yes no
2. Internet Filters yes no
3. Internet Usage Guidelines yes no
4. Theory Software/Websites yes no
5. Ear-training Software/Websites yes no
6. Rhythm Software/Websites yes no
7. Music History Software/Websites yes no
8. Performance Software yes no
9. CD/MIDI Accompaniments yes no
10. Piano Interest Software/Websites yes no
11. E-mail/HTML/Phone/WebCam Check-ups yes no
12. Digital/VHS Cameras and Playback Equipment yes no
13. Tape/Digital Audio Recorders yes no
14. Personal Digital Assistant yes no
15. Other Non-Technological Educational Aids yes no
(Games, etc.)
D. Do I provide an organized framework for student performances?
1. Performance Classes yes no
2. Studio Recitals yes no
3. Secured Recital Venue yes no
4. Outside-of-Studio Performance Opportunities yes no
5. Local/State Performance Festivals/ yes no
Competitions
6. Requirements and Fees yes no
E. Do I keep my students/parents informed of progress?
1. Monthly Progress Reports yes no
2. Mid-Term Progress Reports yes no
3. End-of-Term Progress Reports yes no
4. Yearly Progress Reports yes no
III. LESSON ASSESSMENT
A. Is time spent on the following activities?
1. Greeting-catch up on week 1 2 3 4 5
2. Technique-rote drills 1 2 3 4 5
3. Sight Reading 1 2 3 4 5
4. Repertoire-existing assignments 1 2 3 4 5
5. Repertoire-new assignments 1 2 3 4 5
6. Memorized Pieces 1 2 3 4 5
7. Theory 1 2 3 4 5
8. Ear Training 1 2 3 4 5
9. Creative Activities (Improvisation, 1 2 3 4 5
Composition)
10. Ensemble Playing 1 2 3 4 5
B. Do I structure the lesson so activities are prioritized according to
the student's needs?
1. Do I provide an adequate length of lesson to 1 2 3 4 5
cover the necessary activities?
2. Do I have certain activities that should be 1 2 3 4 5
included in every lesson?
3. Do I try to cover each activity every week? 1 2 3 4 5
4. Do I alternate lesson coverage depending on 1 2 3 4 5
importance of activities?
5. Do I enlist the student's help in planning 1 2 3 4 5
the lesson?
a. Do I ask what needs he/she thinks should 1 2 3 4 5
be predominant for the lesson?
b. Do I ask if he/she had trouble with any 1 2 3 4 5
particular assignment?
6. Does the student help plan each lesson and 1 2 3 4 5
practice assignment for that week?
7. Do I help the student determine if the amount 1 2 3 4 5
of assignment for the week will fit into
his/her scheduled amount of practice time?
8. Am I able to keep a comprehensive approach to 1 2 3 4 5
the lesson, even if I spend a lot of time
on an important explanation or exploration?
9. Do I offer group lessons or summer activities 1 2 3 4 5
to accomplish activities not covered in
the individual lesson?
C. Is my teaching style working well with their learning style?
1. Is the learning atmosphere one of 1 2 3 4 5
partnership, discovering together?
2. Do I ask questions? 1 2 3 4 5
3. Do I listen? 1 2 3 4 5
4. Do I talk more than I should, over explain? 1 2 3 4 5
5. Do I encourage camaraderie with their fellow 1 2 3 4 5
musicians?
D. Have I given my students the chance to demonstrate what they have
accomplished since their last lesson?
1. Do they play what they've practiced without 1 2 3 4 5
excessive interruptions?
2. Do they articulate how they worked through 1 2 3 4 5
any difficulties in their practice?
3. Do they have a second chance to play through 1 2 3 4 5
a piece if it didn't go well?
E. Have I stimulated my students to think for themselves?
1. Do I enable the student to discover and 1 2 3 4 5
experiment with solutions to problems?
2. Do I allow the student to make comments and 1 2 3 4 5
respond to questions comfortably?
3. Do I give the student encouragement when he/ 1 2 3 4 5
she attempts to make an independent
decision?
4. Do I build upon the student's responses? 1 2 3 4 5
F. Have I imparted some new information?
1. Does the student leave the lesson with a new 1 2 3 4 5
way of approaching an ongoing piece?
2. Does the student leave the lesson with a new 1 2 3 4 5
musical/technical concept that builds
upon what the student already knows?
3. Does the student leave the lesson with 1 2 3 4 5
additional practicing suggestions?
4. Does the student leave the lesson eager to 1 2 3 4 5
return to the piano to try out what he/she
has just learned?
G. Have I provided a non-threatening environment that motivates and
encourages productivity, independence and self-esteem?
1. Does the student feel supported and 1 2 3 4 5
encouraged by me?
2. Can the student make an error and experiment 1 2 3 4 5
without fear of humiliation?
3. Can the student accept feedback without the 1 2 3 4 5
need for defensiveness?
4. Does the student have fun and enjoy the 1 2 3 4 5
lesson?
5. Does the student find his/her effort honestly 1 2 3 4 5
rewarded?
H. Have I thought through the best way to communicate an idea:
appropriateness, priority, awareness of student's learning style,
question or statement responses, pacing, clarity, nonverbal
communication, use of imagery?
1. Does the student clearly grasp an idea? 1 2 3 4 5
2. Can the student put it into use fairly 1 2 3 4 5
quickly?
3. Can the student transfer the idea to similar 1 2 3 4 5
but different situations?
I. Have I provided my students with the learning tools to be
independent?
1. Do I teach concepts rather than simply 1 2 3 4 5
providing the necessary information-i.e.,
exploring fingering concepts as opposed to
writing in the fingering?
2. Does the student experience efficient and 1 2 3 4 5
beneficial approaches to practicing?
3. Do I give the student the opportunity to make 1 2 3 4 5
independent decisions during lessons?
J. Have I sent my student home with a clear understanding of how best to
utilize his/her practice time?
1. Do I demonstrate, if appropriate, the 1 2 3 4 5
specific musical/technical concepts so
students can go home remembering the proper
sound and gesture?
2. Do I have the student try out a new idea 1 2 3 4 5
several times, in different contexts, to
ensure he/she understands and can do it
independently?
3. Do I have the student periodically practice 1 2 3 4 5
within the lesson to ensure he/she knows
what to do at home?
4. Do I review what was accomplished in the 1 2 3 4 5
lesson to reinforce important details that
need to be included in the coming week's
practice?
IV. CURRICULUM ASSESSMENT
Do I thoughtfully plan out each student's personal curriculum to
include the elements of sight playing, repertoire, technique, theory,
keyboard musicianship, ensembles, ear training and creative work?
A. Are concepts transferred to different activities to unify the
lesson?
1. Do I have a conceptual focus on musical 1 2 3 4 5
elements and apply the learned concept to
other music?
2. Do I overlap new concepts with information 1 2 3 4 5
already grasped?
3. Do I allow the student to apply one concept 1 2 3 4 5
before requiring others to be perfected?
4. Do I prepare the student for success by 1 2 3 4 5
limiting the conditions for playing to
focus on a concept?
5. Do I use a variety of functional skills to 1 2 3 4 5
reinforce music concepts?
6. Do I use movement, singing and imagery to 1 2 3 4 5
help the student understand concepts?
B. Have I encouraged a healthy approach to the instrument?
1. Do I carefully prepare each new technical 1 2 3 4 5
development encountered in the repertoire?
2. Do I help the student understand how tone is 1 2 3 4 5
produced in the instrument?
3. Do I monitor tension and a relaxed use of the 1 2 3 4 5
whole body?
4. Do I consistently teach scales? 1 2 3 4 5
5. Do I find ways such as etudes to develop 1 2 3 4 5
technique beyond scale playing?
C. Sight playing:
1. Is beginning note reading on the staff 1 2 3 4 5
consistently structured and monitored?
2. Is beginning rhythmic reading reinforced with 1 2 3 4 5
large body movement, clapping and
verbalization (counting out loud)?
3. Am I structuring sight-playing experiences 1 2 3 4 5
for all my students?
4. Am I aware of sight-playing materials for 1 2 3 4 5
elementary, intermediate and advanced
students?
D. Repertoire:
1. Am I incorporating a balance of new and 1 2 3 4 5
review repertoire?
2. Do I carefully monitor the level of music 1 2 3 4 5
assigned, so my students are challenged
yet can move on to new repertoire in a
reasonable amount of time?
3. At the elementary level, are my students 1 2 3 4 5
studying a variety of styles: legato/
staccato, melodic/chordal, rhythmic/
lyrical?
4. At the intermediate level, are my students 1 2 3 4 5
studying repertoire that will prepare them
technically for the more advanced
repertoire of the baroque, classical,
romantic and contemporary style periods?
5. At the intermediate level, are my students 1 2 3 4 5
beginning to study easier baroque,
classical, romantic and contemporary
repertoire?
6. Do my students understand the different 1 2 3 4 5
performance practices associated with the
baroque, classical, romantic and
contemporary style periods?
7. Do my advanced students consistently study 1 2 3 4 5
music from the four style periods?
8. Do I include "fun" or popular music for my 1 2 3 4 5
students to study?
9. Do I include jazz or jazz styled repertoire 1 2 3 4 5
for my students to study?
10. Am I always working for phrase understanding 1 2 3 4 5
and musical development when teaching
repertoire?
11. Do I stay current with new methods, new 1 2 3 4 5
supplementary materials and new
repertoire collections?
12. Do my students have ample performing 1 2 3 4 5
experiences, both informal and formal?
13. Do I encourage my students to share their 1 2 3 4 5
music making with family, friends
and the community?
E. Theory:
1. Are my students consistently studying a 1 2 3 4 5
structured system of theory, so they
understand the music they are playing?
2. Have I considered the many formats available 1 2 3 4 5
for studying theory: books, computer
software, programs on the Internet?
F. Keyboard musicianship:
1. Do I incorporate harmonization skills at the 1 2 3 4 5
elementary through advanced levels?
2. Do I teach transposition at the elementary 1 2 3 4 5
through advanced levels?
G. Ensemble:
1. Do I consistently have each student studying 1 2 3 4 5
and experiencing some type of ensemble
repertoire?
2. Have I considered teaching duets, either 1 2 3 4 5
teacher-student duets or student-student
duets?
3. Have I considered having my students perform 1 2 3 4 5
trios (three at one piano)?
4. Have I considered having my students study 1 2 3 4 5
two-piano works, concertos or quartets
(8 hands, 2 pianos)?
5. Have I considered having my students perform 1 2 3 4 5
keyboard ensembles?
6. Do I utilize accompaniment disks and CDs as 1 2 3 4 5
another ensemble experience for my
students?
7. Do I encourage my students to seek 1 2 3 4 5
collaborative experiences with other
musicians to perform chamber music?
8. Do I encourage my students to accompany 1 2 3 4 5
soloists and choirs in their community
and school?
H. Ear training:
1. Do I consistently teach a structured ear- 1 2 3 4 5
training program to all levels of students?
I. Creative activities:
1. Do I consistently structure some type of 1 2 3 4 5
creative activity for each student?
2. Do I regularly teach a program of 1 2 3 4 5
improvisation?
3. Do I have my students consistently compose 1 2 3 4 5
or create their own pieces?
4. Do I stay current with materials specifically 1 2 3 4 5
designed for improvisation or composition?
J. If I find it difficult to develop a full curriculum in my current
lesson structure, am I willing to consider other teaching formats?
1. Private lesson only, expanded lesson length yes no
2. Group lesson only yes no
3. Group lesson once a week with private lesson yes no
once a week
4. Partner lesson yes no
5. Private lesson with computer time (theory, yes no
ear training)
6. Private weekly lesson, monthly group class yes no
7. Three private lessons each month, fourth week yes no
group class only
MTNA PEER ASSESSMENT TOOL
for the Independent Music Teacher
MTNA offers this assessment tool to provide music teachers with an
instrument for a colleague to evaluate their teaching of two or three
students. An appropriate fee should be paid to the evaluator. An
individual teacher, either in an independent or college studio, could
utilize the peer assessment tool. The rating scale ranges from
1 = needs improvement to 5 = satisfactory.
I. Lesson Assessment Needs Improvement Satisfactory
A. Is time spent on the following activities?
1. Greeting--catch up on week 1 2 3 4 5
2. Technique--rote drills 1 2 3 4 5
3. Sight Reading 1 2 3 4 5
4. Repertoire--existing assignments 1 2 3 4 5
5. Repertoire--new assignments 1 2 3 4 5
6. Memorized Pieces 1 2 3 4 5
7. Theory 1 2 3 4 5
8. Ear Training 1 2 3 4 5
9. Creative Activities (Improvisation, 1 2 3 4 5
Composition)
10. Ensemble Playing 1 2 3 4 5
B. Is the lesson structured so activities are prioritized according to
the student's needs?
1. Is the lesson an adequate length to cover the 1 2 3 4 5
necessary activities?
2. Does the teacher cover certain activities in 1 2 3 4 5
every lesson?
3. Does the teacher cover each activity? 1 2 3 4 5
4. Does the teacher prioritize coverage 1 2 3 4 5
depending on the importance of activities?
5. Does the teacher enlist the student's help in 1 2 3 4 5
planning the lesson?
6. Does the teacher ask the student what needs 1 2 3 4 5
he/she thinks should be predominant for
the lesson?
7. Does the teacher ask if he/she had trouble 1 2 3 4 5
with any particular assignment?
8. Does the student help plan the lesson and 1 2 3 4 5
practice assignment for the week?
9. Does the teacher help the student determine 1 2 3 4 5
if the amount of assignment for the week
will fit into his/her scheduled amount of
practice time?
10. Does the teacher keep a comprehensive 1 2 3 4 5
approach to the lesson, even if he/she
spends a lot of time on an important
explanation or exploration?
C. Is the teacher's teaching style working well with the student's
learning style?
1. Is the learning atmosphere one of 1 2 3 4 5
partnership, discovering together?
2. Does the teacher ask questions? 1 2 3 4 5
3. Does the teacher listen? 1 2 3 4 5
4. Does the teacher talk more than he/she 1 2 3 4 5
should, over explain?
5. Does the teacher encourage camaraderie with 1 2 3 4 5
the student's fellow musicians?
D. Does the teacher give students the chance to demonstrate what they
have accomplished since their last lesson?
1. Do they play what they've practiced without 1 2 3 4 5
excessive interruptions?
2. Do they articulate how they worked through 1 2 3 4 5
any difficulties in their practice?
3. Do they have a second chance to play through 1 2 3 4 5
a piece if it didn't go well?
E. Does the teacher stimulate students to think for themselves?
1. Does the teacher enable the student to 1 2 3 4 5
discover and experiment with solutions to
problems?
2. Does the teacher allow the student to make 1 2 3 4 5
comments and respond to questions
comfortably?
3. Does the teacher give the student 1 2 3 4 5
encouragement when he/she attempts to make
an independent decision?
4. Does the teacher build upon the student's 1 2 3 4 5
responses?
F. Has the teacher imparted some new information?
1. Does the student leave the lesson with a new 1 2 3 4 5
way of approaching an ongoing piece?
2. Does the student leave the lesson with a new 1 2 3 4 5
musical/technical concept that builds upon
what the student already knows?
3. Does the student leave the lesson with 1 2 3 4 5
additional practicing suggestions?
4. Does the student leave the lesson eager to 1 2 3 4 5
return to the piano to try out what he/she
has just learned?
G. Does the teacher provide a non-threatening environment that
motivates and encourages productivity, independence and self-esteem?
1. Does the student feel supported and 1 2 3 4 5
encouraged?
2. Can the student make an error and experiment 1 2 3 4 5
without fear of humiliation?
3. Can the student accept feedback without the 1 2 3 4 5
need for defensiveness?
4. Does the student have fun and enjoy the 1 2 3 4 5
lesson?
5. Does the student find his/her efforts 1 2 3 4 5
honestly rewarded?
H. Has the teacher thought through the best way to communicate an idea:
appropriateness, priority, awareness of student's learning style,
question or statement responses, pacing, clarity, nonverbal
communication, use of imagery?
1. Does the student clearly grasp an idea? 1 2 3 4 5
2. Can the student put it into use fairly 1 2 3 4 5
quickly?
3. Can the student transfer the idea to similar 1 2 3 4 5
but different situations?
I. Has the teacher provided students with the learning tools to be
independent?
1. Are concepts the focus rather than simply 1 2 3 4 5
providing the necessary information-i.e.,
exploring fingering concepts as opposed to
writing in the fingering?
2. Does the student experience efficient and 1 2 3 4 5
beneficial approaches to practicing?
3. Does the student have the opportunity to make 1 2 3 4 5
independent decisions during lessons?
J. Does the teacher send the student home with a clear understanding of
how best to utilize his/her practice time?
1. Does the teacher demonstrate, if appropriate, 1 2 3 4 5
the specific musical/technical concepts
so students can go home remembering the
proper sound and gesture?
2. Does the student try out a new idea several 1 2 3 4 5
times, in different contexts, to ensure
he/she understands and can do it
independently?
3. Does the student periodically practice within 1 2 3 4 5
the lesson to ensure he/she knows what to
do at home?
4. Does the teacher review what was accomplished 1 2 3 4 5
in the lesson to reinforce important
details that need to be included in the
coming week's practice?
II. Curriculum Assessment
Is it evident that the student's personal curriculum includes the
elements of sight playing, repertoire, technique, theory, keyboard
musicianship, ensembles, ear training and creative work?
A. Are concepts transferred to different activities to unify the
lesson?
1. Does the teacher have a conceptual focus on 1 2 3 4 5
musical elements and apply the learned
concept to other music?
2. Does the teacher overlap new concepts with 1 2 3 4 5
information already grasped?
3. Does the teacher allow the student to apply 1 2 3 4 5
one concept before requiring others to be
perfected?
4. Does the teacher prepare the student for 1 2 3 4 5
success by limiting the conditions for
playing to focus on a concept?
5. Does the teacher use a variety of functional 1 2 3 4 5
skills to reinforce music concepts?
6. Does the teacher use movement, singing and 1 2 3 4 5
imagery to help the student understand
concepts?
B. Does the teacher encourage a healthy approach to the instrument?
1. Does the teacher carefully prepare each new 1 2 3 4 5
technical development encountered in the
repertoire?
2. Does the teacher help the student understand 1 2 3 4 5
how tone is produced in the instrument?
3. Does the teacher monitor tension and a 1 2 3 4 5
relaxed use of the whole body?
4. Does the teacher consistently teach scales? 1 2 3 4 5
5. Does the teacher find ways such as etudes to 1 2 3 4 5
develop technique beyond scale playing?
C. Sight playing:
1. Is beginning note reading on the staff 1 2 3 4 5
structured and monitored?
2. Is beginning rhythmic reading reinforced with 1 2 3 4 5
large body movement, clapping and
verbalization (counting out loud)?
3. Does the teacher provide sight-playing 1 2 3 4 5
experiences for the student?
D. Repertoire:
1. Does the teacher incorporate a balance of new 1 2 3 4 5
and review repertoire?
2. Does the teacher carefully monitor the level 1 2 3 4 5
of music assigned, so the students are
challenged yet can move on to new
repertoire in a reasonable amount of time?
3. At the elementary level, are the students 1 2 3 4 5
studying a variety of styles: legato/
staccato, melodic/chordal, rhythmic/
lyrical?
4. At the intermediate level, are the students 1 2 3 4 5
studying repertoire that will prepare them
technically for the more advanced
repertoire of the baroque, classical,
romantic and contemporary style periods?
5. At the intermediate level, are the students 1 2 3 4 5
beginning to study easier baroque,
classical, romantic and contemporary
repertoire?
6. Do the students understand the different 1 2 3 4 5
performance practices associated with the
baroque, classical, romantic and
contemporary style periods?
7. Do advanced students study music from the 1 2 3 4 5
four style periods?
8. Is "fun" or popular music included for the 1 2 3 4 5
students to study?
9. Is jazz or jazz styled repertoire included 1 2 3 4 5
for students to study?
10. Does the teacher work on phrase 1 2 3 4 5
understanding and musical development when
teaching repertoire?
11. Does the teacher use new methods, new 1 2 3 4 5
supplementary materials and new repertoire
collections?
E. Theory:
1. Are the students studying a structured system 1 2 3 4 5
of theory, so they understand the music
they are playing?
2. Are several formats used for studying theory: 1 2 3 4 5
books, computer software, programs on the
Internet?
F. Keyboard musicianship:
1. Does the teacher incorporate harmonization 1 2 3 4 5
skills at the elementary through advanced
levels?
2. Does the teacher teach transposition at the 1 2 3 4 5
elementary through advanced levels?
G. Ensemble:
1. Does the teacher have each student studying 1 2 3 4 5
and experiencing some type of ensemble
repertoire?
2. Does the teacher have students perform duets, 1 2 3 4 5
either teacher-student duets or
student-student duets?
3. Does the teacher have students perform trios 1 2 3 4 5
or quartets?
4. Does the teacher have students study 1 2 3 4 5
concertos?
5. Does the teacher have students perform in 1 2 3 4 5
large ensembles?
6. Does the teacher utilize accompaniment disks 1 2 3 4 5
and CDs as another ensemble experience
for my students?
7. Does the teacher encourage students to seek 1 2 3 4 5
collaborative experiences with other
musicians to perform chamber music?
8. Does the teacher encourage students to 1 2 3 4 5
accompany soloists and choirs in their
community and school?
H. Ear training:
1. Does the teacher teach a structured ear- 1 2 3 4 5
training program to the student?
I. Creative activities:
1. Does the teacher structure some type of 1 2 3 4 5
creative activity for the student?
2. Does the teacher teach improvisation? 1 2 3 4 5
3. Does the teacher have the students compose or 1 2 3 4 5
create their own pieces?
4. Is it evident that the teacher stays current 1 2 3 4 5
with materials specifically designed for
improvisation or composition?
J. Does the teacher use a variety of teaching formats?
1. Private lesson only, expanded lesson length yes no
2. Group lesson only yes no
3. Group lesson once a week with private lesson yes no
once a week
4. Partner lesson yes no
5. Private lesson with computer time (theory, yes no
ear training)
6. Private weekly lesson, monthly group class yes no
7. Three private lessons each month, fourth week yes no
group class only
MTNA CLIENT ASSESSMENT TOOL
for the Independent Music Teacher
MTNA offers this assessment tool to provide music teachers with an
instrument for parents to evaluate the music lessons or for adults to
evaluate their lessons. An individual teacher, either in an independent
or college studio, could utilize the client assessment tool. The rating
scale ranges from 1 = needs improvement to 5 = satisfactory.
I. Teacher Assessment Needs Improvement Satisfactory
1. How would you evaluate the professionalism of 1 2 3 4 5
the teacher?
2. Is your teacher on time for lessons? 1 2 3 4 5
3. How would you evaluate communication with 1 2 3 4 5
your teacher?
II. Studio Assessment
1. How would you evaluate the payment and 1 2 3 4 5
billing process?
2. Do you feel well informed about registration, 1 2 3 4 5
payment, billing, lesson scheduling,
cancellations, withdrawal, performances,
etc.?
3. Is the lesson environment inviting and 1 2 3 4 5
conducive to learning?
4. Please use this space to list any problems or 1 2 3 4 5
concerns you have with the studio site,
such as parking, etc.
III. Lesson Assessment
1. Does your teacher give clear explanations 1 2 3 4 5
and instructions?
2. Does your teacher communicate excitement 1 2 3 4 5
about music?
3. Does your teacher provide adequate, effective 1 2 3 4 5
and appropriate feedback?
4. How would you evaluate your teacher's rapport 1 2 3 4 5
with the student?
5. Do you enjoy your lessons? Why or why not? 1 2 3 4 5
6. What changes do you think would make your 1 2 3 4 5
lessons a more rewarding and fun
experience?
IV. Program Assessment
1. How would you evaluate the progress of the 1 2 3 4 5
student?
2. How would you evaluate the lesson 1 2 3 4 5
assignments?
3. Does your instructor inform you of auditions, 1 2 3 4 5
performance and/or competition
opportunities appropriate for you or your
child?
4. Does the student understand how to practice? 1 2 3 4 5
5. Does the student know how to prepare for 1 2 3 4 5
performance?
6. Does the student understand the expectations 1 2 3 4 5
of the teacher?
COPYRIGHT 2004 Music Teachers National Association, Inc.
COPYRIGHT 2004 Gale Group
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