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Palliative care practitioners may be involved in assessment in a variety of ways. First, as teachers, they use assessment to motivate, promote, and test student learning in palliative care. Second, as part of a wider community of teachers, they contribute to assessments that are organized by others in the university and workplace. Third, they may be invited to sit on course organizing committees at which discussions about assessment happen. Therefore, a good understanding of assessment enables the palliative care teacher to be more effective in every setting. This chapter sets out the purposes and sources of assessment; differentiates between formative assessment to aid learning and summative assessment which tests student achievement; and discusses the pros and cons of a range of assessment methods.

This chapter focuses on the important skills of lesson planning and assessment. The discussion is based on the premise that effective teaching depends on the effective management of the learning environment. This chapter begins to integrate and apply the issues raised in earlier chapters, providing examples of lesson planning and assessment to illustrate some current good practices used in schools in Hong Kong.

This chapter details many ways of collecting information about student performance. Diagnostic assessment, formative assessment, and summative assessment all work together to inform teaching and learning throughout a lesson or unit. Summative assessment is what comes to mind when many people think of “assessment,” but summative assessment is the assessment type that supports learning the least. Assessment for learning, as opposed to assessment of learning, is the type of classroom assessment that helps students know where they are going, where they are now, and how to get there. Assessment design can improve validity. A nearly infinite variety of possible assessment methods, or ways to gather information, exists. The most common methods in schools can be categorized as selected response, written response, verbal response, performance or demonstration, personal communication, portfolios, quick formative assessment techniques, and self and peer assessment. Using a variety of methods helps to ensure curricular comprehensiveness.

This chapter examines the reasons for assessment, the effects and influence of examinations, methods of assessment, and developments in systems of assessment. It also describes a number of ways in which aspects of assessment could be distinguished.

Assessment is an essential aspect of teaching and learning. Not only is assessment necessary to determine whether students have learned what teachers think they have taught, but it also informs the design of instruction and is used to adjust the specific teaching and learning strategies that are used over time. Numerous technological tools are available that enable teachers to be more efficient and effective with this process. This chapter is primarily concerned with the assessment of musical achievement in creative, psychomotor, and cognitive domains. It outlines essential assessment principles, discusses the technology-assisted development of assessments, explores technologies helpful to the process of assessing specific music learning outcomes, and describes new assessment approaches enabled by technology. The management of assessment data and processes via technology is also examined.

This chapter explains foundations underpinning assessment in ensembles. Music educators need information about what their students know and are able to do in order to do their best teaching. However, such information is hard to obtain using traditional ensemble methods. Individual classroom assessment yields more information about student performance than standardized testing or regular rehearsals. Concepts such as metacognition, the Zone of Proximal Development, self-efficacy, social-emotional learning, and growth mindset can be productively incorporated into the design and use of assessments. Assessment alters the curriculum as tested topics are emphasized, and runs the risk of reductionism. Still, classroom assessment has untapped power to transform ensemble music education.

I summarize our general education model, compare it with other popular approaches, and discuss our approach to common challenges. All students complete the same four freshman seminars; each lasts the year and is fully active: no lectures. Approximately 115 learning objectives span four core competencies: critical and creative thinking and effective communication and interaction. This model differs from the four dominant models found in ~290 representative institutions of higher education. We avoided many challenges by building our plans into the foundations of the university from its inception, using a highly diverse team-based course development and teaching program, and continuing assessment on the learning objectives throughout all four years.