THE GREAT PLEBEIAN COLLEGE

ALAMINOS CITY, PANGASINAN

COLLEGE OF TEACHER EDUCATION

Prepared by:
ANGELITA A. CAMBA
Principal - Elem. Dept.
 THE GREAT PLEBEIAN COLLEGE
ALAMINOS CITY, PANGASINAN
COLLEGE OF TEACHER EDUCATION

Prepared by:
ANGELITA A. CAMBA
Principal – Elem. Dept.

Checked by:
Dr. FEDERICO A. LOPEZ Sr.
(VP-Academic Affairs, Dean, CTE)

Approved by:
Dr. ROSALINA P. ANCHETA
(OIC-School President)
 THE GREAT PLEBEIAN COLLEGE
ALAMINOS CITY, PANGASINAN
COLLEGE OF TEACHER EDUCATION
Prof. Ed. 611 ASSESSMENT OF STUDENT LEARNING II

MODULE NO. 2
Process-Oriented
Performance-Based Assessment
What will you learn from this module?
a) Examine Process-Oriented Performance-Based Assessment
b) Design Performance Tasks
c) Create Scoring Rubrics
Background of the Study:
Too often, we tend to assess students’ learning through their outputs or products or through some kind of
traditional testing. However, it is important to assess not only these competencies but also the process which the
students underwent in order to arrive at these products or outputs. It is possible to explain why the students’
outputs are as they are through an assessment of the process which they did in order to arrive at the final product.
This Chapter is considered with process-oriented performance- based assessment. Assessment is not an end in
itself but a vehicle for educational improvement. Its effective practice, then begins with and enacts a vision to
help them achieve.
Assessment is most effective when it reflects an understanding of learning as multidimensional, integrated,
and revealed in performance over time. Learning is a complex process. It entails not only what students know but
what they can do with what they know; it involves not only knowledge and abilities but values, attitudes, and
habits of mind that affect both academic success and performance beyond the classroom. Assessment should
reflect these understandings by employing a diverse array of methods, including those that call for actual
performance, using them over time so as to reveal change, growth, and increasing degrees of integration. Such an
approach aims for a more complete and accurate picture of learning.
Process-Oriented Learning Competencies
Information about outcomes is of high importance; where students “end up” matters greatly. But to
improve outcomes, we need to know about student experience along the way about the curricula, teaching, and
kind of student effort that lead to particular outcomes.
Assessment can help us understand which students learn best under what conditions; with such knowledge
comes the capacity to improve the whole of their learning. Process-oriented performance-based assessment is
concerned with the actual task performance rather than the output or product of the activity.
Learning Competencies. The learning objectives in process-oriented performance-based assessment
are stated in directly observable behaviors of the students. Competencies are defined as groups or clusters of skills
and abilities for needed for a particular task. The objectives generally focus on those behaviors which exemplify
a “best practice” for the particular task. Such behaviors range from a “beginner” or novice level up to the level of
an expert. An example of learning competencies for a process-oriented performance-based assessment is given
below.
Task: Recite a poem by Edgar Allan Poe, “The Raven”.
Objectives: The activity aims to enable the students to recite a poem entitled “The Raven” by Edgar Allan
Poe. Specifically:
1. Recite the poem from memory without referring to notes;
2. Use appropriate hand and body gestures in delivering the piece;
3. Maintain eye contact with the audience while reciting the poem;
4. Create the ambiance of the poem through appropriate rising and falling intonation;
5. Pronounce the words clearly and with proper diction.
Notice that the objective starts with a general statement of what is expected of the student from the task
(recite a poem by Edgar Allan Poe) and then breaks down the general objective into easily observable behaviors
when reciting a poem. The specific objectives identified constitute the learning competencies for this particular
task. As in the statement of objectives using Bloom’s taxonomy, the specific objectives also range from simple
observable processes to more complex observable processes e.g. creating an ambiance of the poem through
appropriate rising and falling intonation. A competency is said to be more complex when it consists of two or
more skills.
The following competencies are simple competencies:
• Speak with a well-modulated voice;
• Draw a straight line from one point to another point;
• Color a leaf with a green crayon
The following competencies are more complex competencies:
• Recite a poem with feeling using appropriate voice quality, facial expressions and hand gestures;
• Construct an equilateral triangle given three non-collinear points;
• Draw and color a leaf with green crayon.

Task Designing
Learning tasks need to be carefully planned. In particular, the teacher must ensure that the particular
learning process to be observed contributes to the overall understanding of the subject or course. Some generally
accepted standards for designing a task include:
• Identifying an activity that would highlight the competencies to be evaluated e.g. reciting a poem,
writing an essay, manipulating the microscope.
• Identifying an activity that would entail more or less the same sets of competencies. If an activity
would result in too many possible competencies, then the teacher would have difficulty assessing
the student’s competency on the task.
• Finding a task that would be interesting and enjoyable for the students. Tasks such as writing an
essay are often boring and cumbersome for the students.
Example: The topic is on understanding biological diversity.
Possible Task Design; Bring the students to a pond or creek. Ask them to find all living organisms as they
can find living near the pond or creek. Also, bring them to the school playground to find as many living
organisms as they can. Observe how the students will develop a system for finding such organisms,
classifying the organisms and concluding the differences in biological diversity of the two sites.
Science laboratory classes are particularly suitable for a process-oriented performance-based
assessment technique.

Scoring Rubrics
Rubric is a scoring scale used to assess student performance along a task-specific set of criteria.
Authentic assessments typically are criterion-referenced measures, that is, a student’s aptitude on a task is
determined by matching the student’s performance against a set of criteria to determine the degree to
which the student’s performance meets the criteria for the task. To measure student performance against
a pre-determined set of criteria, a rubric, or scoring scale which contains the essential criteria for the task
and appropriate levels of performance for each criterion is typically created. For example, the following
rubric (scoring scale) covers the recitation portion of task in English.

Recitation Rubric
Criteria 1 2 3
Number of
Appropriate Hand X1 1-4 5-9 10-12
Gestures
Appropriate Facial Lots of Few No apparent
Expression X1 inappropriate inappropriate inappropriate
facial expression facial expression facial expression
Monotone voice Can vary voice Can easily vary
Voice Infliction X2 used infliction with voice infliction
difficulty
Incorporate Proper Recite contains Recitation has Recitation fully
Ambiance Through X3 very little feelings some feelings captures
Feelings in the Voice ambiance through
feelings in the
voice.
 As in the above example, a rubric is comprised of two components: criteria and levels of performance.
Each rubric has at least two criteria and at least two levels of performance. The criteria, characteristics of good
performance on a task, are listed in the left-hand column in the rubric above (number of hand gestures, appropriate
facial features, voice infliction and ambiance). Actually, as is common in rubrics, a shorthand is used for each
criterion to make it fit easily into the table. The full criteria are statements of performance such as “include a
sufficient number of hand gestures” and “recitation captures the ambiance through appropriate feelings and tone
in the voice.
For each criterion, the evaluator applying the rubric can determine to what degree the student has met the
criterion, i.e., the level of performance. In the above rubric, there are three levels of performance for each criterion.
For example, the recitation can contain lots of inappropriate, few inappropriate or no inappropriate hand gestures.
Finally, the rubric above contains a mechanism for assigning a score to each project. (Assessments and
their accompanying rubrics can be used for purposes other than evaluation and, thus, do not have to have points
or grades attached to them.) in the second-to-left column a weight is assigned each criterion. Students can receive
1, 2 or 3 points for “number of sources.” But appropriate ambiance, more important in this teacher’s mind, is
weighted three times (x3) as heavily. So, students can receive 3, 6 or 9 points (i.e., 1, 2 or 3 times 3) for the level
of appropriateness in this task.
Descriptors
The above rubric includes another common, but not a necessary, component of rubrics – descriptors.
Descriptors spell out what is expected of students at each level of performance for each criterion. In the above
example, “lots of historical inappropriate hand gestures,” “monotone voice used” are descriptors. A descriptor
tells students more precisely what performance looks like at each level and how their work may be distinguished
from the work of others for each criterion. Similarly, the descriptors help the teacher more precisely and
consistently distinguish between student work.

Why Include Levels of Performance?

Clearer Expectations
It is very useful for the students and the teacher if the criteria are identified and communicated prior to
completion of the task. Students know what is expected of them and teachers know what to look for in student
performance. Similarly, students better understand what good (or bad) performance on a task looks like if levels
of performance are identified, particularly if descriptors for each level are included.

More Consistent and Objective Assessment

In addition, to better communicating teacher expectations, levels of performance permit the teacher to
more consistently and objectively distinguish between good and bad performance, or between superior, mediocre
and poor performance, when evaluating student work.
Better Feedback
Furthermore, identifying specific levels of student performance allows the teacher to provide more
detailed feedback to students. The teacher and the students can more clearly recognize areas that need
improvement.
Analytic Versus Holistic Rubrics
For a particular task you assign students, do you want to be able to assess how well the students perform
on each criterion, or do you want to get a more global picture of the students’ performance on the entire task? The
answer to that question is likely to determine the type of rubric you choose to create or use – analytic or holistic?
Analytic Rubric
Most rubrics, like the Recitation rubric above, are analytic rubrics. An analytic rubric articulates levels of
performance for each criterion so the teacher can assess student performance on each criterion. Using the
Recitation rubric, a teacher could assess whether a student has done a poor, good or excellent job of “creating
ambiance” and distinguish that from how well the student did on “voice inflection.”
Holistic Rubric
In contrast, a holistic rubric does not list separate levels of performance for each criterion. Instead, a
holistic rubric assigns a level of performance by assessing performance across multiple criteria as a whole. For
example, the analytic research rubric above can be turned into a holistic rubric:
3 – Excellent Speaker
• Included 10-12 changes in hand gestures
• No apparent inappropriate facial expressions
 • Utilizes proper voice inflection
• Can create proper ambiance for poem
2 – Good Speaker
• Included 5-9 changes in hand gestures
• Few inappropriate facial expressions
• Have some inappropriate voice infliction changes
• Almost creating proper ambiance
3 – Poor Speaker
• Included 1- 4 changes in hand gestures
• Lots of inappropriate facial expressions
• Uses monotone voice
• Cannot create proper ambiance

When to Choose an Analytic Rubric

Analytic rubrics are more common because teachers typically want to assess each criterion separately,
particularly for assignments that involve a larger number of criteria. It becomes more and more difficult to assign
a level of performance in a holistic rubric as the number of criteria increases. As student performance increasingly
varies across criteria it becomes more difficult to assign an appropriate holistic category to the performance. In
addition, an analytic rubric better handles weighing of criteria.
When to choose a holistic rubric?
So, when might you use a holistic rubric? Holistic rubrics tend to be used when a quick or gross judgement
needs to be made. If the assessment is a minor one, such as a brief homework assignment, it may be sufficient to
apply a holistic judgement (e.g., check, check-plus, or no-check) to quickly review student work. But holistic
rubrics can also be employed for more substantial assignments. On some tasks it is not easy to evaluate
performance on one criterion independently of performance on a different criterion. For example, many writing
rubrics are holistic because it is not always easy to disentangle clarity from organization or content from
presentation. So, some educators believe a holistic or global assessment of student performance better captures
student ability on certain tasks. (Alternatively, if two criteria are nearly inseparable, the combination of the two
can be treated as a single criterion in an analytic rubric.)
How Many Levels of Performance Should I include in My Rubric?
There is no specific number of levels a rubric should or should not possess. It will vary depending on the
task and your needs. A rubric can have as few as two levels of performance (e.g., a checklist) or as many as…
well, as many as you decide is appropriate. Also, it is not true that there must be an even number or odd number
of levels. Again, that will depend on the situation.
Generally, it is better to start with a smaller number of levels of performance for a criterion and then
expand, if necessary. Making distinctions in student performance across two of three broad categories is difficult
enough. As the number of levels increases, and those judgements become finer and finer, the likelihood of error
increases. Thus, start small. For example, in an oral presentation rubric, amount of eye contact might be an
important criterion. Performance on that criterion could be judged along three levels of performance: never,
sometimes, always.
Makes eye contact with audience Never Sometimes Always
Although these three levels may not capture all the variation in student performance on the criterion, it
may be sufficient discrimination for your purposes. Or, at the least, it is a place to start. Upon applying the three
levels of performance, you might discover that you can effectively group your students’ performance in these
three categories. Furthermore, you might discover that the labels of never, sometimes and always sufficiently
communicate to your students the degree to which they can improve on making eye contact.
On the other hand, after applying the rubric you might discover that you cannot effectively discriminate
among student performance with just three levels of performance. Perhaps, in your view, many students fall in
between never and sometimes, or between sometimes and always, or neither label accurately captures their
performance. So, at this point, you may decide to expand the number of levels of performance to include never,
rarely, sometimes, usually and always.
Makes eye contact Never Rarely Sometimes Usually Always
There is no “right” answer as to how many levels of performance there should be for a criterion in an
analytic rubric; that will depend on the nature of the task assigned, the criteria being evaluated, the students
involved and your purposes and preferences. For example, another teacher might decide to leave off the “always”
level in the above rubric because “usually” is as much as normally can be expected or even wanted in some
instances. Thus, the “makes eye contact” portion of the rubric for that teacher might be:
Makes eye contact Never Rarely Sometimes Usually
We recommend that fewer levels of performance be included initially because such is:
• Easier and quicker to administer
• Easier to explain to students (and others)
• Easier to expand than larger rubrics are to shrink.
Assessment:
I. Design 3 tasks with 5 objectives each. Create 2 types of rubrics (analytic and holistic) in each task.
Place your output in a long bond paper. (Note: Use the example below as a guide. Don’t plagiarize and
refrain from copying on the Internet.)
Example:

Task: Recite a poem by Edgar Allan Poe, “The Raven”.

Objectives: The activity aims to enable the students to recite a poem entitled “The Raven” by Edgar Allan
Poe. Specifically:
1. Recite the poem from memory without referring to notes;
2. Use appropriate hand and body gestures in delivering the piece;
3. Maintain eye contact with the audience while reciting the poem;
4. Create the ambiance of the poem through appropriate rising and falling intonation;
5. Pronounce the words clearly and with proper diction.

Recitation Rubric (Analytic)

Criteria 1 2 3
Number of
Appropriate Hand X1 1-4 5-9 10-12
Gestures
Appropriate Facial Lots of Few No apparent
Expression X1 inappropriate inappropriate inappropriate
facial expression facial expression facial expression
Voice Infliction Monotone voice Can vary voice Can easily vary
X2 used infliction with voice infliction
difficulty
Incorporate Proper Recite contains Recitation has Recitation fully
Ambiance Through X3 very little feelings some feelings captures
Feelings in the Voice ambiance through
feelings in the
voice.

Recitation Rubric (Holistic)

3 – Excellent Speaker
• Included 10-12 changes in hand gestures
• No apparent inappropriate facial expressions
• Utilizes proper voice inflection
• Can create proper ambiance for poem
2 – Good Speaker
• Included 5-9 changes in hand gestures
• Few inappropriate facial expressions
• Have some inappropriate voice infliction changes
• Almost creating proper ambiance
3 – Poor Speaker
• Included 1- 4 changes in hand gestures
• Lots of inappropriate facial expressions
• Uses monotone voice
• Cannot create proper ambiance

Note: There are other examples on the Internet, you can use them as a GUIDE.