Planning the Alternative PL

​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; Harapnuik, 2018) 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 (2013) 3-Column Table to ensure meaningful, transformational learning aligned with your BHAG.

Why 3-Column Table:

• Focuses on deep learning rather than compliance (Fink, 2013)

• Aligns to COVA—choice, ownership, voice, and authentic learning (Harapnuik, 2018)

• 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
These principles are grounded in Gulamhussein’s (2013) research:

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
  (Aligned with the need for meaningful, active educator engagement; Gulamhussein, 2013.)

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
  (Modeling is more effective than passive exposure; Gulamhussein, 2013.)

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
  (PD is most effective when tied to teachers’ actual content areas; Gulamhussein, 2013.)
   

VI. Collaboration Plan
This collaboration model aligns with research on effective professional learning communities (DuFour & Fullan, 2013) and best practices in curriculum design and teacher reflection (Wiggins & McTighe, 2005).

• 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 (Harapnuik, 2018; Fink, 2013).