Professional Growth Plan
In my needs assessment page, I outlined many of the areas I need to develop
to become a more solid professional. To better understand how I can improve
myself, a growth plan can be used. This plan states some of my goals to
accomplish in the near future. After accomplishing these, a new plan will
be written. It is important that teachers always strive to grow, so that
they can better develop the minds in their classrooms.
Finish CIMT 3/368
Although a minute accomplishment, the rewards from the class are countless.
This class develops the skills we currently have, gives us much of the
knowledge we do not have, and sets us up to be able to find more knowledge
in the future. The Portfolio takes on new importance in our professional
lives, and this class is the springboard for this project. These are a
few of the never-ending benefits of this class.
Realize, record, and reflect EFE
I have developed a "three R's" approach to EFE. Before I go into the
field, I am going to predict what is going to happen. This includes what
the students will learn, how I might teach them, and what the ultimate
outcome might be. As I am participating in EFE, I must keep track of what
I am doing, what the students are doing, and compare this with my predictions.
After it is over, I must reflect the end product. I will analyze it in
terms of what happened as opposed to what I wanted to happen, how well
did my instruction go, and how could I have done things better. (I actually
did not develop the 3 R's, considering it is a KWL and Prediction/Anticipation!!)
Ongoing Development-- Portfolio
After CIMT 3/368 is over, the development of my portfolio continues.
I must continue to gather information and ideas that prove and substantiate
my claim to growth as a professional. I will be helping marching bands,
doing interviews with directors, and private teaching for another year.
In this time, I must not become lazy with regards to building a better
Prepare for Student Teaching
In the field of music education, many advantages are out there. If
we study our scores very meticulously, if we sharpen our baton skills,
if we continue to practice our own instrument(s), then when we get onto
the podium, ninety percent of the battle is over. A ensemble director cannot
spend time on the podium scratching their heads and staring into the score,
or trying to figure out how to conduct a measure. They must overcome these
things in preparation and use the total rehearsal to improvement of the
students. Before I go out into student teaching, I must continue to practice
music, use a baton, and read scores. Only then will I succeed during this
vital time in my life.