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Planning the Alternative PL

This Alternative Professional Learning Plan is my Leslie-Knope-inspired roadmap for helping fine arts teachers bring the most joyful, effective parts of my TonalEnergy/iPad innovation into their classrooms. I believe teachers deserve professional learning that feels supportive, practical, and actually doable—no fluff, no mystery expectations, just clear steps that make our work better for students. Using Fink’s 3-Column Table and the five key principles of effective professional learning, this outline lays out the goals, activities, collaboration structures, and resources that will guide our full PL design in Assignment 3. My goal is simple: create a plan that helps teachers feel confident, empowered, and ready to try something new—because when we feel supported, our students thrive.

Innovation Plan Link: 
 

 

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I. Purpose & Overview

This professional learning plan outlines how fine arts educators will implement technology-supported feedback practices using iPads, TonalEnergy, and student-centered reflection structures. The goal is to spread the successful components of this innovation to other classrooms, helping teachers build Significant Learning Environments (CSLE) rooted in student autonomy, ongoing feedback, and authentic learning.

This outline includes the essential strategies, structures, and supports that will be expanded in the full PL course developed for Assignment 3.

II. Audience & Needs

Audience

  • Middle school band, orchestra, and choir directors

  • Fine arts teachers across the district

  • Campus and district leaders interested in discipline-specific technology integration

Audience Needs

  • Practical, discipline-specific strategies

  • Modeling of real classroom use

  • Safe space to try, practice, and ask questions

  • Ongoing support (not one-and-done PD)

  • Clear templates, examples, and student artifacts

  • Easy access to resources in one place

III. Instructional Design Framework

This PL is designed using Fink’s 3-Column Table to ensure meaningful, transformational learning aligned with your BHAG.

Why 3-Column Table:

  • Focuses on deep learning rather than compliance

  • Aligns to COVA (Choice, Ownership, Voice, Authentic Learning)

  • Helps teachers see exactly how the student experience is structured

  • Allows the PL course to model the same learning structure we want teachers to create

Embedded Here:

  • Learning Goals

  • Learning Activities

  • Evidence of Learning

IV. Big Hairy Audacious Goal (BHAG)

By the end of the first semester, 90% of participating students will show measurable growth in tone quality, rhythmic accuracy, and independent self-assessment skills using TonalEnergy and digital reflection tools.

V. Integration of the 5 Key Principles of Effective Professional Learning

1. Significant, Ongoing Duration

  • Multi-week/semester-long learning arc

  • Three anchor workshops

  • In-between coaching cycles

  • PLC check-ins and reflection moments

  • Opportunities to retry, reflect, refine

2. Support During Implementation

  • Peer coaching partners (“Fine Arts Tech Buddies”)

  • Shared troubleshooting doc

  • Access to model lessons & student samples

  • Optional tech support office hours

  • Structured follow-up during PLCs

3. Active Learning (Not Passive Exposure)

  • Hands-on tool practice (iPads + TonalEnergy + recordings)

  • Rehearsal labs where teachers practice with instruments

  • Micro-teaching simulations

  • Reviewing and analyzing student performance data

  • Teachers build their own TE-infused lesson or task

4. Modeling Effective Practice

  • Live demonstration lesson (teacher as “student”)

  • Video exemplars from real rehearsals

  • Step-by-step modeling of student reflection workflow

  • Classroom observation opportunities

5. Discipline-Specific Content

  • Built specifically for band, orchestra, and choir

  • Rubrics tailored to tone, intonation, accuracy, phrasing

  • Templates for rehearsals, sectionals, and individual practice

  • Adaptable versions for varying grade levels and ensembles

VI. Collaboration Plan

  • Fine Arts PLC creates shared TonalEnergy reflection rubrics

  • Monthly “Share & Reflect” meetings

  • Shared Drive folder with lesson templates, videos, resources

  • Peer observation cycles (short, supportive, non-evaluative)

  • Optional cross-campus virtual coaching via Teams

VII. Leadership Roles

Role Responsibilities

Jennifer- (Lead)Facilitate workshops, model lessons, create resources, support teachers

Campus Admin- Provide time, support, and expectations for participation

Tech Specialist- Troubleshooting, access support, TE licensing help

Pilot Teachers- Provide feedback, share student artifacts, assist peers

VIII. Schedule & Timeline

Phase 1: Launch (Weeks 1–2)

  • Workshop 1: Introduction, purpose, modeling, initial practice

  • Set up devices and workflow

  • Share sample student reflections

Phase 2: Guided Practice (Weeks 3–6)

  • Rehearsal labs

  • Creating first TE lesson or task

  • Online resource access + peer support

Phase 3: Classroom Implementation (Weeks 7–10)

  • Coaching cycles

  • Student artifact collection

  • Reflection discussions

Phase 4: Showcase & Celebrate (Week 11)

  • Teachers share lessons

  • Student recordings and growth artifacts

  • Reflections on impact

Phase 5: Sustain & Scale (Ongoing)

  • Add resources to ePortfolio hub

  • Expand to other fine arts disciplines/campuses

  • Optional summer institute

IX. Resources Needed

  • iPads, TonalEnergy licenses

  • Tripods/mic accessories

  • Recording platforms and Drive storage

  • Templates (rubrics, reflection forms, lesson outlines)

  • Shared Google Drive or Canvas module

  • PLC time and designated rehearsal lab space

X. Links and Placeholders (For ePortfolio Page)

  • Innovation Plan

  • 3-Column Table

  • PD Slide Deck (placeholder)

  • Sample reflection form

  • Teacher-created lesson sample (placeholder)

XI. Radical Impact Statement

This PL plan is designed to grow a culture of reflective, technology-supported musicianship across our fine arts programs. By modeling the same significant learning environment we want for our students—active, authentic, collaborative, and feedback-driven—we empower teachers to bring innovation to life in every rehearsal room.

References:

Fink, L. D. (2013). Creating significant learning experiences: An integrated approach to designing college courses (2nd ed.). Jossey-Bass.

Gulamhussein, A. (2013). Teaching the teachers: Effective professional development in an era of high stakes accountability. Center for Public Education. https://files.eric.ed.gov/fulltext/ED543600.pdf

Harapnuik, D. (n.d.). COVA: Choice, Ownership, Voice, and Authentic learning. https://www.harapnuik.org/?p=7121

Harapnuik, D. (n.d.). Creating Significant Learning Environments (CSLE). https://www.harapnuik.org/?page_id=6241

Wiggins, G., & McTighe, J. (2005). Understanding by design (Expanded 2nd ed.). ASCD.

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Portions of this assignment were developed with the assistance of AI tools (ChatGPT). AI was used to support brainstorming, organization, and editing; however, all ideas, decisions, and final writing reflect my own understanding, voice, and academic work. AI was used ethically and responsibly in accordance with course and university expectations.

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