Fly to port folio: with immediate connections to ...

* Standard II * Standard III * Standard IV

As you should have heard by now, teachers seeking Professional Certification can opt to travel the older, more straightforward "final examination" route or now can choose the newly created, scenic "portfolio" route instead.

What is a portfolio? Unlike an exam, which acts as a single measure of one's achievements, a portfolio is an integration of numerous, different kinds of informational and accomplishment-oriented materials. (1) Why does the portfolio idea fit within the certification process? "It describes documents and materials, which collectively suggest the scope and quality of [one's] proficiency." (2)

"A portfolio is a representative collection of one's work, providing documentation of work in progress, evidence of how work has evolved and how it has been refined. Each portfolio is expected to be highly individualized and comprehensive in its portrayal of [one's] style, culture, attitudes and interests." (3)

All artists, photographers and architects use portfolios to preserve their best works. The creation of a certification portfolio will enable the music teacher to maintain a permanent, dynamic record of teaching accomplishments. At the same time, the portfolio also wild

* Provide evidence of quality teaching

* Increase professional accountability

* Foster a culture where teaching/ learning is valued

* Contribute to sound decision making

* Contribute to the constant development and growth of the individual teacher (5)

Since the portfolio is a "dynamic document [that can be] updated continuously, it becomes a lifetime record of scholarly achievements." (6) For this reason, every music teacher, and perhaps every serious music student, should consider compiling a portfolio.

Destination: Port Folio.

Collecting artifacts at different "monumental bridges" along the way

The NCC, with the assistance of the MTNA board of directors and executive director, has created a set of five MTNA Professional Certification Program Teaching Standards that define what a competent music teacher should know and be able to do. To fulfill the five Teaching Standards, those teachers who arc certified must continue to grow and learn as professional music teachers. Each set of requirements corresponds specifically to a Standard.

* Standard I is addressed through the Step 1 phase of requirements in the initial certification process.

* Standard V is addressed through the renewal phase, once certification has been achieved.

* Standards II, III and IV act as bridges that span the gaps between initial certification application and renewal.

It is the strength of these bridges that has been tested with the certification examination; now the strength of these bridges also can be tested from a new approach--the certification portfolio.

The certification portfolio consists of a collection of artifacts (7) that defend the teaching qualities described in Standards II, III and IV. The materials submitted in the portfolio reflect the candidate's professional preparation, teaching practices and ability to operate a successful, professional studio or classroom. Materials submitted by the candidate also demonstrate activities that promote professional involvement, including partnership development with peers, students, families and communities.

Stopover #1: Plunge into Standard II

Standard II Professional Teaching Practices:

A. Planning Courses of Study--Competent music teachers plan courses of study for their students on a regular basis using a sound teaching philosophy and a wide range of music, musical concepts and materials.

B. Facilitating Music Learning--Competent music teachers foster students' interest and facilitate their musical learning by using a variety of resources, equipment, technology, materials, methods, music and teaching styles and strategies.

C. Fostering an Educational Environment--Competent music teachers provide and cultivate settings that are conducive to learning and performance and inclusive of students and families from varied backgrounds, cultures and capabilities. They provide settings for a course of study that encourage student confidence, independence, teamwork and high achievement.

D. Assessing Musical Growth--Competent music teachers utilize multiple evaluation methods regularly to assess and convey the progress of students' musical growth and performance and to gather data for planning subsequent courses of study.

Artifacts:

* Typed statement of philosophy

* Typed representative lesson plans

* Itemized lists of methods, repertoire, technical studies and sight-reading materials

* Analyses of select repertoire

* Itemized lists of musical instruments, technology, equipment and teaching aids available

* Outlines describing how the above mentioned tools will be utilized

* Printed programs/audio tapes/video discs from recitals, festivals, auditions, field trips and so forth

* Photographs/video discs of studios, classrooms and so forth

* Evaluation materials (adjudication sheets, lesson videos, parent conference reports and so forth)

Stopover #2: Bask in the warmth and security of Standard III

Standard III Professional Business Management:

Competent music teachers demonstrate an understanding and application of basic professional and ethical business practices in their studio and classroom management. These practices include establishing operational and financial policies.

Artifacts:

* Typed statements of studio/ classroom policies

* Typed outlines for official interviews, which include FAQs of beginner/transfer students and parents or incoming college students

* Typed annual budget reports for studio/classroom (or prototype reports if candidates are salaried performance-area music teachers)

Stopover #3: Wrapping up the tour at Standard IV

Standard IV Professionalism and Partnerships:

A. Contributing to the Profession--Competent music teachers contribute to the professional growth of their colleagues, their studios and schools, their professional associations and to their profession at large.

B. Building Partnerships--Competent music teachers understand and appreciate the unique position the family unit, colleagues and community play in the musical education of students. They actively seek opportunities to build and nurture partnerships with them.

Artifacts:

* Dated newspaper/newsletter articles, journal articles and books written by or about the candidate

* Letters and rosters making reference to the candidate's credentials and/or leadership roles

* Documentation of the candidate's performances, presentations, workshops, honors, awards and so forth

* Professional certificates/licenses held by the candidate

* Documentation of projects that incorporate school, art or community associations

* Studio website address and information

Rates and Concerns for Any and All Travel Needs

The fees for submitting the portfolio for evaluation are comparable to those for the final certification examination. Those fees, along with any time constraints, are clearly explained in the guidelines. For a free copy of the complete brochure, Guidelines for the Certification Portfolio, including applications and fees, log onto the website at [e-mail] or contact MTNA national headquarters at [phone].

The trip to Port Folio, Certificationland, may not be for everyone; it is a rugged, detailed and time-consuming trek. It has to be comprehensive, covering everything that might be questioned on an examination. However, for those music teachers who wish to become certified but find the examination process too restrictive, the new portfolio option may be just the "ticket." Upon completion of the "Port Folio" excursion, the nationally certified teacher of music will gain a sense of accomplishment with rewards to last for a lifetime.

ENDNOTES

(1.) www.cte.iastate.edu/ campusprograms/portfolio: Iowa State University Center for Teaching Excellence: How to Document Your Teaching.

(2.) Rodriguez-Farrar, H.B. The Teaching Portfolio. Providence, RI: Harriet W. Sheridan Center for Teaching and Learning, Brown University, 1995: introduction.

(3.) www.cae.pdx.edu: Portland State University Index--Teaching and Learning Excellence/Academic Portfolio Development: Portfolio Content.

(4.) The itemized list was partially created from http://depts.washington.edu/ cidrweb/: Center for Instructional Development and Research (CIDR): Guidelines for the Preparation and Use of Teaching Portfolios.

(5.) Seldin, Peter. The Teaching Portfolio: A Practical Guide to Improved Performance and Promotion/Tenure Decisions. Bolton, MA: Anker, 1991: ch. 1.

(6.) http://teachx.rutgers.edu/faculty/ portfolios: Teaching Excellence Center @ Rutgers University, New Brunswick/The Teaching Portfolio: Definition, Purposes, and Form.

(7.) www.cae.pdx.edu: Portfolio Content.

Karen Taddie, NCTM 

Eastern Division Commissioner

National Certification Commission