Writing A Concert Report Instructors in introductory music cours.docx

Writing A Concert Report
Instructors in introductory music courses often require
students to write one or more concert reports during a semester.
Here are some guidelines for the preparation of such an
assignment: first, a few suggestions on working with your own
notes; second, points to consider for the content of your report;
third, some information about usages or conventions in writing
about music; and finally, an example of a concert report.
Transforming Your Notes into a Report
You should plan to expand your notes into a complete report
very soon after the concert--the same evening or during the next
day or so.
It is often helpful to begin with an outline and then to write a
rough draft. (If your instructor hands out a printed form for
concert reports, that will serve as the outline.) Next, polish and
edit your draft to produce the final version. Remember to check
your grammar and the spellings of names (especially foreign
names) and musical terms.
Below are recommendations for the actual content of your
report--what to write. Following that, there is a section on
vocabulary and usages, or conventions, involved in referring to
musical works--that is, how to write about music.
What to Write: The Content of a Report
The Concert as a Whole You should begin your report with a
brief description of the concert attended, including the name
and type of the performing group or soloists, the place, the date
and time, and the music you heard.
You will also want to note whether the performers were
attempting a historically "authentic" program. For example, in

music by Johann Sebastian Bach, was a harpsichord (rather than
a piano) used? For a symphony by Haydn or Mozart, was the
size of the orchestra reduced? Did the performers use old
instruments, or reconstructions of old instruments?
Then, you may want to describe your general reaction to the
concert. Did you enjoy it? Did this event make you feel like
going to other concerts in the near future?
Following this introduction, the paper might focus on the pieces
you enjoyed most and your reaction to the performances.
Individual Compositions In discussing individual compositions,
you will probably want to cover some of the following points:
· Musical styles. How did the composition correspond to what
you have learned about the stylistic period in which it was
composed--baroque, classical, etc.? Your appreciation of a work
is often enhanced when you recognize its musical style.
· Musical genres and forms. What was the genre of the piece--
symphony, concerto, tone poem, string quartet, étude, etc.?
What musical forms were employed--theme and variations,
sonata form, ABA, etc.? If you are reporting on an opera, you
might note arias, recitatives, ensembles, choruses, etc.
· Program music. Was the composition program music--that is,
was it inspired by a text, story, or place? If so, how did the
music reflect the program?
· Emotions, images, and ideas. Did the composition evoke in
you specific feelings or thoughts? For an opera, you should
describe how the music depicted mood, character, and dramatic
action.
· Memorable features. What features of the piece were most

memorable--for example, did you tend to remember slower,
lyrical sections; or triumphant parts; or fast, exciting parts?
Were there any striking melodies and rhythms? Were there any
unusual vocal, instrumental, or electronic effects?
· Musical themes. Were there several contrasting sections or
themes within a movement? Did you recognize variations of
particular themes or reappearances of musical ideas in different
sections or movements?
· Comparisons with other works. It is often illuminating to
compare a work with other works on the program, or with other
works you have studied, noting similarities and differences.
Performance Your discussion of performance will be of a more
subjective nature. You may want to focus on the following
points:
· Emotional projection. Did you think that the soloists or group
succeeded in projecting the emotional meaning of the work?
· Dynamics. Did the dynamics seem to have enough variety and
flexibility? Did anything seem too loud or too soft?
· Tempos. What tempos were used? Did you think the tempos
sounded right, or did some parts seem too slow or too fast?
Could you identify any times when the performers intensified
their expression of the music by using rubato--a slight holding
back or pressing forward of tempo?
· Melodies. Did you think that the melodic lines were projected
with a feeling of forward motion, lyricism, continuity, and
climax? Did there seem to be a good balance between main
melodic lines and accompaniment?
· Vocal and instrumental performances. Did the singers seem to
have outstanding voices? Did the instrumentalists seem to be

producing beautiful sounds? Did the performers' body motions
add to or detract from the musical effect?
· The parts and the whole. Did you enjoy the give-and-take
among various instrumental families (in an orchestra), voice
parts (in a chorus), or soloists (in a chamber group)? In a
concerto, did the soloist and orchestra seem well coordinated?
· The conductor. Did you get the impression that the conductor
had the ensemble under control? Did the conducting gestures
and motions seem to be conveying the feeling of the music?
· Opera. How would you describe the quality of the opera
production? Were the sets, costumes, lighting, etc., appropriate
and aesthetically pleasing? Was the opera sung in its original
language or in translation? If it was sung in translation, could
you understand the words? Were super titles provided, and if so
did you find them a plus or a minus? Was the opera presented in
its original setting (such as the Latin Quarter of Paris around
1830 for Puccini's La Bohème), or was the action transposed to
a different period? What did you think of the acting?
Disasters. Performances--including those by famous musicians--
do occasionally run into problems. Since professionals are good
at "covering" slips, even quite sophisticated audience members
may be unaware that anything has gone wrong; still, you may
want to ask yourself some questions like the following: Did the
performers seem to have a firm technical command of the
music? Did they consistently play or sing in tune? Do you think
you heard any "wrong notes?"
How to Write about Music: Vocabulary, Usages, and
Conventions
In writing about music, it's important to use certain terms
correctly, with regard to what they mean and the form in which
they are written.

Some Basic Performance Vocabulary Here are a few terms
you'll need to use in discussing musical performances; some of
these are misused surprisingly often.
Composition, piece, and work. These may all be used, more or
less interchangeably, for a single, complete piece of music
("The first composition on the program was very short"; "The
second piece was the one I enjoyed most"; "This is a
contemporary work").
Song. This is a relatively brief work for a solo singer, which is
not part of a larger work like an opera or an oratorio (though it
may be part of a song cycle, and the term is also correct for a
solo passage in a musical comedy or operette). Note that song
should not be used for an instrumental work, or for an aria.
Aria. This is a passage for a solo singer in an opera or oratorio.
If it is being performed out of context, as part of a concert or
recital, it is still referred to as an aria. Some arias are
independent compositions; these are called concert arias.
Vocal, vocalist. Vocal means of the voice; it is redundant and
therefore incorrect to speak of a "vocal song." Vocalist is
simply a synonym for singer.
Choral, chorus. Choral means of a choir (thus a choral work is a
work for choir), and a chorus is a relatively large choir, or
group of singers.
Ensemble. This can refer to any group of performers, but it is
most commonly used for smaller groups. (A large group would
be referred to as, say, an orchestra, chorus, or band.)
Chamber music. This refers to any music written for a chamber
ensemble—a string quartet, a piano trio, a chamber orchestra,
and so on. (Music for a soloist, or for a soloist with

accompanist, may or may not be chamber music.)
Symphony. This is a composition for orchestra, usually in four
movements. The term should not be used as a short form of
"symphony orchestra" (the term to use in that case is orchestra.)
Program. A word with several meanings: (1) An entire concert
or recital ("I enjoyed tonight's program"). (2) The printed
booklet given to audience members at a concert, opera, recital,
etc. ("I found that reading the program notes helped me
understand the music"). (3) A literary text, a place, an event, or
the like, on which a musical composition is based ("Berlioz's
Symphonie fantastique has an autobiographical program").
Performance. This term typically refers to the actual act of
making music ("a virtuoso performance"), though it is
sometimes used to mean a musical presentation ("The
performance consisted of six works").
Concert, recital. A recital is a program by a soloist or by two
performers (soloist and accompanist, or a duo). A concert is a
program by a chamber ensemble, orchestra, band, or chorus;
there are also rock, jazz, and pop concerts.
Production. This is a performance of a work that involves
staging—costumes, scenery, etc.—as well as music. The term
may also refer to the costumes, scenery, and so on, as distinct
from the music ("The opera was well sung, but the production
seemed over elaborate").
Show. This term is properly used only for popular music and
musical comedy.
Act, scene. In opera, operetta, and musical theater, an act is a
major section of the work ("The third act of Rigoletto includes
the famous Quartet"); usually, an intermission takes place

between acts. Acts may be subdivided into scenes. Note: In
popular forms like revues and variety shows, act refers to the
presentation of one of the performers or performing groups ("A
tough act to follow"); but the term is not correctly used in this
way for recitals, orchestra or chamber concerts, etc. (Don't say,
"For his second act he sang Die Forelle." Rather, say, "The
second piece he sang was Die Forelle"; or, "The second work
was Die Forelle"; or the like.)
Movement. This is a specifically designated part of a long work
like a symphony, a concerto, a string quartet, etc. (The term is
not used for sections within an opera.)
Section, passage. These terms are useful for referring to parts of
a composition shorter than a movement or (in musical drama)
shorter than an act, scene, aria, duet, ensemble, etc.
Usages and Conventions In music—as in the other academic
disciplines, and in many nonacademic situations—there are
various usages, or conventions, regarding terminology. What
words are capitalized, for example? When is italic used? To
answer such questions, systems of usages are established by
publishers (of textbooks and popular books, journals,
newspapers, magazines, etc.), by college and university
departments, by professional organizations, and so on. These
systems can differ considerably from each other—a fact you
should bear in mind when you are reading about music, since
you will encounter many divergent usages. (Note: As you may
know, usages of this nature are often called styles; however,
that term will not be used here, to avoid any confusion with
musical styles—an entirely different matter.) When you
write a concert report—or any other assignment for your music
course—you will need to learn a system of usages and apply it
correctly and consistently, particularly for titles of musical
works. The music department at your college or university
may have developed its own system of usages; if so, it will

probably distribute instructions in the form of a booklet or list
to everyone who is taking a music course. Or an individual
instructor may announce or hand out instructions for usages that
he or she expects you to follow. A second possibility is that the
department—or an instructor—will refer you to a system
recommended by an organization like the Modern Language
Association (MLA) or an institution like the University of
Chicago (both of these have developed widely used systems). A
third possibility is that your instructor will have you follow the
usages that appear in your textbook (in this case, Music: An
Appreciation, by Roger Kamien). It is rather unlikely that
you will be left to your own devices with regard to usages; but
if you are, you should consult the manual of a respected
institution like MLA or Chicago, or take your textbook as a
model. On the following pages is a sampling of the usages in
Music: An Appreciation. Note, with regard to italic (slanted
type that looks like this): in handwritten work, or in work done
on a typewriter, a word processor, or a personal computer that
cannot produce italic, the equivalent is underlining.
· "Generic" titles of works—that is, works identified by a genre
or form (usually with some number, or a key, or both)—are
capitalized: Brahms's Symphony No. 4 in E Minor, Op. 98;
Chopin's Nocturne in E Flat Major, Op. 9, No. 2; Mozart's Piano
Concerto No. 23 in A Major, K.#488.
· "Nongeneric" titles of works—that is, actual titles rather than
a numbered genre or form—are set in italic (or underlined;
remember that, as noted above, underlining is the equivalent of
italic). Examples are titles of songs, oratorios, operas,
symphonic poems, and ballets: Gershwin's I Got Rhythm,
Handel's Messiah, Mozart's Don Giovanni, Smetana's The
Moldau, Stravinksy's Petrushka.
· "Nicknames" of works with generic titles are italic. They are
placed in parentheses when they appear with the full title, but

they may also be used in place of the full title. Examples are:
Beethoven's Piano Sonata in C Minor, Op. 13 (Pathétique), and
Haydn's Symphony No. 94 in G Minor (Surprise); the Pathétique
Sonata, the Surprise Symphony.
· Some titles combine a generic part and a nongeneric part.
Examples: Bizet's L'Arlésienne Suite No. 2, Machaut's Notre
Dame Mass.
· For translations of works with foreign-language titles, both the
original and the translation are italic. Examples: Schubert's
Erlkönig (The Erlking); Puccini's La Bohème (Bohemian Life).
· A foreign-language title usually conforms to the conventions
for capitalization in that language (different usages apply in
different languages). Examples: Schumann's Im wunderschönen
Monat Mai(In the Lovely Month of May); Stravinsky's Le Sacre
du printemps (The Rite of Spring). Note that nouns are
capitalized in German.
· Parts of larger works are usually lowercase if identified by
form and number. Examples: first movement, scene 2, the third
act.
· Parts of works which bear their own nongeneric titles are
italic. Examples: March to the Scaffold (from Berlioz's
Symphonie fantastique); Game of Paris (from Bartók's Concerto
for Orchestra); La donna è mobile (from Verdi's Rigoletto.)
· Vocal works that are identified by the first few words (rather
than formal titles) are italic but not capitalized throughout.
Example: When I am laid in earth (from Purcell's Dido and
Aeneas).
· Lowercase is used for forms and genres apart from titles.
Examples: A symphony usually has four movements. A minuet

and trio is in three-part form (ABA).
· Terms for tempos and dynamics are neither italic nor
capitalized in text: allegro, andante, pianissimo.
· Musical styles and stylistic periods are usually lowercase.
Examples: baroque, classical, romantic. But there are some
exceptions; for example: Renaissance, Dixieland.
As noted above, there are a number of systems of usages, and
some of these differ greatly. Here are some examples of usages
in other systems:
Long and short works. In some systems, a distinction is made
between titles of long works, which are italic; and titles of
shorter works, such as songs, for which quotation marks are
used ("Yesterday"). But in these systems a foreign-language
title may be italic, and quotation marks may be used for a
translation, whether the work is short or long: Debussy's Nuages
("Clouds").
Nicknames. Some systems also use quotation marks rather than
italics for nicknames (Mendelssohn's "Italian" Symphony).
However, a nickname may be italic if it is in a foreign language.
Quotation marks. On the other hand, some systems simply use
quotation marks for all nongeneric titles, nicknames, foreign-
language titles, and the like: Wagner's "Lohengrin," "Ah, vous
dirai-je, maman," Beethoven's "Eroica" Symphony. (You may
find this use of quotation marks particularly in newspapers.)
Italics. Some textbooks use italic for all titles, including generic
titles (Beethoven's Symphony No. 3 in E Flat Major). (This is
probably done in order to highlight titles for students.)
Keys. Instead of capitalizing all keys in titles, some systems use

capital for major keys and lowercase for minor keys and omit
the word major or minor. Thus C in a title is the equivalent of C
Major, and c is the equivalent of C Minor.
There are many other variations—far more, in fact, than we
can go into here. You need not be familiar with all of them, but
you should be aware that they exist.
A Sample Report - Do NOT copy this format!
Below is a concert report written by a college student, which
should be helpful as an example of content, vocabulary, and
usages. (You'll notice that this student has followed a format
requested by her instructor.)
Name: Peggy Skipitaris
Course: Introduction to Music
Date: December 9, 1991
Concert: New York Philharmonic (December 3, 1991)
Type of concert: Symphony orchestra
General reaction: I was impressed with the construction of the
concert hall—Avery Fisher Hall at Lincoln Center—and with its
wonderful acoustics. The visual grandeur of the orchestra and
the attentiveness of the audience heightened my sense of
excitement.
Composition I likes best: The piece I enjoyed most was Till
Eulenspiegel's Merry Pranks, Op. 28, by Richard Strauss, a one-
movement work in rondo form, with various tempos. This
symphonic poem was written in 1895—during the romantic era,
when program music was prominent—and is based on a German
folk tale about a famous prankster. Strauss uses the rondo form
as a framework for the episodes of Till's adventures: after each

prank, Till laughs at his pursuers and saunters off. When he is
finally caught and hanged, his last gesture is to thumb his nose
at his executioners. Although the piece deals with death, and
such unhappy programs are usually in minor, I hear this
composition start in minor but end in major. The meter varies,
as does the tempo—which is basically very lively but at times
becomes moderate, slower, or even faster.
This work can be compared with another one-movement
symphonic poem that deals with the death of its protagonists:
Tchaikovsky's Romeo and Juliet. Tchaikovsky chose sonata
(rather than rondo) form; his composition is in minor, the meter
is duple, and—as in Till Eulenspiegel—the tempo varies. The
basic mood of the two works differs significantly: in Romeo and
Juliet, it is love—rather than mischief—that triumphs over
death.
Strauss introduces his hero with a lyrical opening theme (the
horn). But the second theme reflects agility, deviltry, energy,
and unpredictability. Both themes return often as we hear Till
get into and out of "hide and seek" and "catch me if you can"
situations. The ending is a grander, more exciting version of
Till's first theme. Throughout, Strauss conveys the story and
mood by contrasting solo and orchestral passages. The funeral
after Till's handing is interrupted several times by Till's horn
theme, suggesting his refusal to die.
In Romeo and Juliet, the slow introduction is a hymn-like
melody (Friar Lawrence's theme) which leads to a violent, fast
theme that identifies the warring families; Romeo and Juliet
themselves are identified by a lovers' theme.
In both works, funeral music indicates death. Tchaikovsky
used Romeo's theme as a dirge but follows it by the gentle
lovers' theme which implies that these lovers will be reunited in
death. Strauss, on the other hand, concludes Till Eulenspiegel

with Till's nose-thumbing theme. Till's spirit—like Romeo's and
Juliet's—lives on, but it is obviously a very different kind of
spirit.
Listening to Romeo and Juliet brought me close to tears, while
Till Eulenspiegel brought a smile to my lips.
Performance of this work: Wonderful! I was glad that Till
Eulenspiegel was the final work on the program, as it left me in
a very uplifted mood. I marveled at the fact that, through his
music, Strauss enabled me to see the actions described in the
program.
Overall performance: Totally professional in every respect.
1
Running head: CASE STUDIES
5
CASE STUDIES
Final Assessment of Six Case Studies
Your First and Last Name
PSY622
Dr. Lynne Hill-Clark
September 3, 2015
Abstract
One solid paragraph, no indent, 150-250 (maximum) word
summary of important points in the paper.

Final Assessment of Six Case Studies
This paper covers six case studies. These cases were referred to
a psychologist and following are the results of forensic
assessments and the recommendations to the court [something to
this effect].
Case Study One
Daubert Standard
Did the assessment process used here meet the Daubert
Standard? How do you know? What were the Psychometrics of
the measures used?
Interview Information
What was learned during the interview (i.e. case history,
appearance at interview, etc.)?
Collateral Information
Discuss specific assessment scores and what they indicate!! You
may discuss the Therapeutic Risk Typologies here or in the next
section.
Recommendations
Based on the above information, what are the
recommendations to the court?
Ethical Guidelines
What ethical guidelines were followed here by the
psychologist? Was sound science used? What measures were
taken to keep information confidential, etc.? Are there any other
ethical considerations for this case?
Case Study Two
Daubert Standard
Did the assessment process used here meet the Daubert
Standard? How do you know? What were the Psychometrics of
the measures used?
What was learned during the interview (i.e. case history, etc.)?
Discuss specific assessment scores and what they mean. You
may discuss the Therapeutic Risk Typologies here or in the next
section.

Recommendations
Based on the above information, what are the
recommendations to the court?
Ethical Guidelines
What ethical guidelines were followed here by the
psychologist? Was sound science used? Are there any other
ethical considerations here?
Case Study Three
Repeat above headings and requirements…
References
Berglund, K., Roman, E., Balldin, J., Berggren, U., Eriksson,
M., Gustavsson, P., & Fahlke, C. (2011). Do men with excessive
alcohol consumption and social stability have an addictive
personality? Scandinavian Journal of Psychology, 52(3), 257-
260. doi: 10.1037/a0031367
Etc.
PSY 622 Final Project Guidelines and Rubric
Overview
The purpose of the final project for this course is to establish an
in-depth proficiency in the area of assessment within multiple
domains of forensic psychology.
The final project focuses on victimology, which examines the
symptoms of trauma-related victims, such as survivors of child,
domestic, or sexual abuse. It also
looks at correctional psychology, which evaluates criminal
responsibility and risk of re-offense in violent (e.g., those with

assault charges) and non-violent
offenders (e.g., those with substance abuse charges).
The final project for this course is a collection of six separate
forensic psychological reports based on provided scenarios.
Each report is based on data from a
distinct test and serves a distinct purpose within the court
system. These reports are specific to risk assessment, and most
of the reports will be reviewed by
parties other than the forensic assessor’s client. These reports
are considered consultative work.
The project is divided into six milestones, which will be
submitted at various points throughout the course to scaffold
learning and ensure quality final
submissions. These milestones will be submitted in Modules
Three, Four, Five, Six, Seven, and Eight. The final submission
will occur in Module Nine.
In this assignment, you will demonstrate your mastery of the
following course outcomes:
Daubert standard
Develop reports based on forensic assessment standards and
guidelines for informing decision making in criminal and civil
proceedings
and appropriateness for informing decisions in criminal and
civil proceedings
-structured interviews for their
impact on decision making in criminal and civil proceedings

guidelines of a professional psychology organization in making
recommendations
Prompt
Imagine you have been hired as a consultant to conduct risk
assessment in six separate domains of forensic psychology:
mental health/diminished capacity,
offender risk assessment, substance abuse potential, trauma
symptoms among children, child abuse potential, and violence
risk assessment. For each domain,
you will be required to develop reports based on their
associated scenarios (scenarios are located in each module that
contains a milestone). You will need to
assess the data sets from the objective tests used in each
domain, as well as review the interview information and
collateral information for each case, and create
a subsequent recommendations report specific to each domain.
You will be required to incorporate appropriate ethical
guidelines in each of your
recommendations reports. Ensure you save instructor feedback
from this assignment as it will be used in future courses.
Specifically, the following critical elements must be addressed:
I. Mental Health/Diminished Capacity Assessment (Case
Scenario 1)
a) Assess the extent to which the case study data set meets the
Daubert standard (psychometrics). In other words, what is the

known or potential
error rate? Has the data been derived using reliable methods? Is
the data valid and reliable with regard to the scientific method?
b) Evaluate the interview information contained in the scenario
for its implications in the risk assessment and recommendations
process.
Substantiate your claims with specific research.
c) Evaluate the collateral information contained in the scenario
process.
d) Create a recommendations report for risk management based
on the above elements. Justify your position with specific
scholarly research.
e) Be sure your recommendations report aligns with the ethical
guidelines of a professional psychology association. Note: You
do not need to
belong to an organization, but rather may view the ethical
guidelines on the website of the organization of your choice.
II. Offender Risk Assessment (Case Scenario 2)
known or potential
process.

process.
scholarly research.
do not need to
III. Substance Abuse Potential (Case Scenario 3)
known or potential
process.
process.

scholarly research.
do not need to
IV. Trauma Symptoms Among Children (Case Scenario 4)
known or potential
http://snhu-
media.snhu.edu/files/course_repository/graduate/psy/psy622/cas
e_scenario_one.pdf
e_scenario_two.pdf
e_scenario_three.pdf
e_scenario_four.pdf
process.

process.
scholarly research.
do not need to
V. Child Abuse Potential (Case Scenario 5)
known or potential
process.
process.

scholarly research.
do not need to
VI. Violence Risk Assessment (Case Scenario 6)
known or potential
process.
process.
scholarly research.
do not need to

Milestones
Milestone One: Case Scenario 1
In Module Three, you will submit Case Scenario 1: Mental
Health/Diminished Capacity Assessment. Review Case Scenario
1. In the Assessment Data section,
review the raw data of the MMPI-2. Appropriately interpret the
scores. Based on your review of Therapeutic Risk Typologies,
provide a one to two page
recommendations report for child protective services. This
milestone is graded with the Milestone One Rubric.
e_scenario_five.pdf
e_scenario_six.pdf
media.snhu.edu/files/course_repository/graduate/psy/psy622/the
rapeutic_risk_typologies.pdf
Milestone Two: Case Scenario 2
In Module Four, you will submit Case Scenario 2: Offender
Risk Assessment. Review Case Scenario 2. In the Assessment
Data section, review the raw data of the
IORNS. Appropriately interpret the scores. Based on your
review of Therapeutic Risk Typologies, provide a one to two
page recommendations report for parole.
This milestone is graded with the Milestone Two Rubric.
Milestone Three: Case Scenario 3

In Module Five, you will submit Case Scenario 3: Substance
Abuse Potential. Review Case Scenario 3. In the Assessment
SASSI-3. Appropriately interpret the scores. Based on your
review of Therapeutic Risk Typologies, provide a one to two
page recommendations report for child
protective services and probation. This milestone is graded with
the Milestone Three Rubric.
Milestone Four: Case Scenario 4
In Module Six, you will submit Case Scenario 4: Trauma
Symptoms Among Children. Review Case Scenario 4. In the
Assessment Data section, review the raw
data of the TSCYC. Appropriately interpret the scores. Based on
your review of Therapeutic Risk Typologies, provide a one to
two page recommendations report
for child protective services. This milestone is graded with the
Milestone Four Rubric.
Milestone Five: Case Scenario 5
In Module Seven, you will submit Case Scenario 5: Child Abuse
Potential. Review Case Scenario 5. In the Assessment Data
section, review the raw data of the
CAPI. Appropriately interpret the scores. Based on your review
of Therapeutic Risk Typologies, provide a one to two page
recommendations report for child
protective services. This milestone is graded with the Milestone
Five Rubric.
Milestone Six: Case Scenario 6
In Module Eight, you will submit Case Scenario 6: Violence
Risk Assessment. Review Case Scenario 6. In the Assessment
SARA. Appropriately interpret the scores. Based on your review
of Therapeutic Risk Typologies, provide a one to two page
recommendations report for

probation. This milestone is graded with the Milestone Six
Rubric.
Final Submission: Summative Forensic Case Report (Cases 1-6)
In Module Nine, you will submit the final project, containing all
six completed case scenarios. It should be a complete, polished
artifact containing all of the
critical elements of the final project. It should reflect the
incorporation of feedback gained throughout the course. This
submission will be graded using the Final
Project Rubric.
Deliverables
Milestone Deliverables Module Due Grading
1 Case Scenario 1 Three Graded separately; Milestone One
Rubric
2 Case Scenario 2 Four Graded separately; Milestone Two
Rubric
3 Case Scenario 3 Five Graded separately; Milestone Three
Rubric
4 Case Scenario 4 Six Graded separately; Milestone Four Rubric
5 Case Scenario 5 Seven Graded separately; Milestone Five
Rubric
6 Case Scenario 6 Eight Graded separately; Milestone Six

Rubric
Final Submission: Summative Forensic
Case Report (Cases 1-6)
Nine Graded separately; Final Project Rubric
Final Project Rubric
Guidelines for Submission: Submit all six completed case
scenarios. Your submission should be a complete, polished
artifact containing all of the critical
elements of the final project. It should reflect the incorporation
of feedback gained throughout the course and be formatted with
one-inch margins, 12-point
Times New Roman font, and appropriate APA format.
Instructor Feedback: This activity uses an integrated rubric in
Blackboard. Students can view instructor feedback in the Grade
Center. For more information,
review these instructions. Ensure you save instructor feedback
from this assignment as it will be used in future courses.
Critical Elements Exemplary (100%) Proficient (90%) Needs
Improvement (70%) Not Evident (0%) Value
Mental
Health/Diminished
Capacity: Daubert
Meets “Proficient” criteria and
connects the assessment to
specific components of the
Daubert standard

Comprehensively assesses the
extent to which the case study
data set meets the Daubert
standard
Assesses the extent to which the
case study data set meets the
Daubert standard but with gaps
in accuracy or detail
Does not assess the extent to
which the case study data set
meets the Daubert standard
2.5
Mental
Health/Diminished
Capacity: Interview
Information
uses industry-specific language
to exhibit expertise
Evaluates interview information
appropriately for its implications
in the risk assessment process
and substantiates claims with
specific research
Evaluates information but
evaluation is not appropriate to

the situation, or does not
substantiate claims with research
Does not evaluate interview
information
2.5
media.snhu.edu/files/production_documentation/formatting/rubr
ic_feedback_instructions_student.pdf
Mental
Health/Diminished
Capacity: Collateral
Information
Evaluates collateral information
in the risk assessment and
recommendations process and
substantiates claims with specific
research
but evaluation is not appropriate
to the situation, or does not

Does not evaluate collateral
information
2.5
Mental
Health/Diminished
Capacity:
Recommendations
proposed recommendations
provide suggestions for optimal
performance
Proposes appropriate
recommendations and justifies
with research
Proposes recommendations that
are not appropriate to the
situation, or does not justify with
research
Does not propose
recommendations
4.5
Mental
Health/Diminished
Capacity: Ethical
Guidelines

demonstrates professionalism in
promoting the welfare of the
client and the legal system
Employs appropriate ethical
guidelines of a professional
organization in making
recommendations
Employs ethical guidelines but
guidelines are not appropriate to
the situation or are not
supported by a professional
organization
Does not employ ethical
guidelines
4.5
Offender Risk
Assessment:
Daubert
Daubert standard
standard

2.5
Offender Risk
Assessment:
specific research
information
2.5

Offender Risk
Assessment:
research
information
2.5
Offender Risk
Assessment:
Recommendations
performance

with research
research
Does not propose
recommendations
4.5
Offender Risk
Assessment:
Ethical Guidelines
recommendations
organization

guidelines
4.5
Substance Abuse
Potential: Daubert
Daubert standard
standard
2.5
Substance Abuse
Potential: Interview
Information

specific research
information
2.5
Substance Abuse
Potential: Collateral
Information
research

information
2.5
Substance Abuse
Potential:
Recommendations
performance
with research
research
Does not propose
recommendations
4.5
Substance Abuse

Potential: Ethical
Guidelines
recommendations
organization
guidelines
4.5
Trauma Symptoms
Among Children:
Daubert
Daubert standard

standard
2.5
Trauma Symptoms
Among Children:
specific research

information
2.5
Trauma Symptoms
Among Children:
research
information
2.5
Trauma Symptoms
Among Children:

Recommendations
performance
with research
research
Does not propose
recommendations
4.5
Trauma Symptoms
Among Children: Ethical
Guidelines
recommendations

organization
guidelines
4.5
Child Abuse Potential:
Daubert
Daubert standard
standard
Assesses the extent to which
2.5

specific research
information
2.5
research

information
2.5
Recommendations
performance
with research
research
Does not propose
recommendations
4.5
Ethical Guidelines

recommendations
organization
guidelines
4.5
Criminal Risk
Assessment: Daubert
Daubert standard
standard

2.5
Criminal Risk
Assessment: Interview
Information
specific research
information
2.5

Criminal Risk
Assessment: Collateral
Information
research
information
2.5
Criminal Risk
Assessment:
Recommendations
performance

with research
research
Does not propose
recommendations
4.5
Criminal Risk
Assessment: Ethical
Guidelines
recommendations
organization

guidelines
4.5
Articulation of Response Submission is free of errors
related to citations, grammar,
spelling, syntax, and organization
and is presented in a professional
and easy to read format
Submission has no major errors
spelling, syntax, or organization
Submission has major errors
that negatively impact
readability and articulation of
main ideas
Submission has critical errors
that prevent understanding of
ideas
1
Earned Total 100%

Tricia
Sticky Note
Mr.
Tricia
Sticky Note
"Inventor" should be "Inventory" here.
Tricia
Sticky Note
Should this be seven (7 days) or seventy (70 days)?
Tricia
Sticky Note
Should be "Her affect."
Tricia
Sticky Note
remain
Tricia
Sticky Note
"no tantrum during the day cause you to be more specific" does
not make sense.

Tricia
Sticky Note
Mr.
Tricia
Sticky Note
Her

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