Dorothy Campbell, Pamela Bond Cignetti, Beverly J. Melenyzer, Diane H. Nettles, and Richard M. Wyman Jr., How to Develop a Professional Portfolio , 4th ed. (Boston: Pearson, 2007), 3-4.
2.
See http://www.ed.gov/pubs/NatAtRisk/index.html, for a complete copy of the report.
3.
Nathan Plank and Rick Ginsberg, Commissions, Reports, Reforms, and Educational Policy (Westport, CT: Praeger/ Greenwood, 1995).
4.
See http://www.nbpts.orgformoreinformationaboutnationalteachingstandardsintheUnitedStates.
5.
Nona Lyons, With Portfolio inHand, Validating the New Teacher Professionalism ( New York: Teachers College Press, 1998), 15.
6.
Helen Barrett, "Electronic Portfolios = Multimedia Development + Portfolio Development: The Electronic Portfolio Development Process" in Electronic Portfolios: Emerging Practices in Student, Faculty, and Institutional Learning, ed. B.C. Cambridge (Washington, DC: American Association for Higher Learning, 2001), 111.
7.
Ibid.
8.
The authors Barrett and Carney submit, "An educational portfolio contains work that a learner has collected, reflected, selected, and presented to show growth and change over time. . . . A critical component of an educational portfolio is the learner's reflection on the individual pieces of work, as well as an overall reflection on the story that the portfolio tells." Joanne Carney and Helen Barrett, "Conflicting Paradigms and Competing Purposes in Electronic Portfolio Development," see http://electronicportfolios.com/portfolios/LEAJournalBarrettCarney.pdf.
9.
Nona Lyons, ed., "Portfolio Possibilities: Validating a New Teachers Professionalism," in With Portfolio in Hand, Validating the New Teacher Professionalism (New York: Teacher's College Press, 1998), 16.
10.
Lee Shulman , "Teacher Portfolios: A Theoretical Activity" in With Portfolio in Hand, Validating the New Teacher Professionalism, ed. Nona Lyons. (New York: Teachers College Press, 1998), 27-28.
11.
National Association of Schools of Music (search "Handbook" on NASM Web site: http://nasm.arts-accredit.org/) and the INTASC Arts Standards (Model Standards for Licensing Classroom Teachers and Specialists in the Arts: A Resource for State Dialogue), http://www.ccsso.org/content/pdfs/ArtsStandards.pdf.
12.
In their article on "Web-Based Portfolios in Music Education," William Bauer and Amy Doty suggest that when students assess their own work, it helps to increase students' sense of ownership in their learning process. William Bauer and Amy Doty, "Web-Based Electronic Portfolios in Music Education,"http://music.utsa.edu/tdml/conf-IX/IX-Bauer&Doty.html , p. 2.
