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LeeAnne Campos Lecturer Phone: 253-535-7602 Email: camposla@plu.edu Office Hours: (On Campus) Mon - Fri: By Appointment Professional Biography Education B.M., Vocal Performance, Pacific Lutheran University, 1981 Responsibilities Applied Voice Lessons Biography LeeAnne Campos began her music career at the age of seven in Munich, Germany, playing the role of a Siamese boy in a professional production of Rodgers & Hammerstein’s The King and I. A past regional finalist in the Metropolitan Opera

Melissa Plagemann Lecturer Phone: 253-535-7602 Email: plagemmr@plu.edu Office Hours: Mon - Fri: By Appointment Website: http://www.melissaplagemann.com/ Professional Biography Education M.M., Indiana University B.M., University of Victoria Responsibilities Applied Voice Lessons Biography Frequent soloist in the Pacific Northwest and beyond, with groups including Tacoma Opera, Seattle Symphony, Tacoma Symphony, Pacific Northwest Ballet, Auburn Symphony, Orchestra Seattle, Skagit Opera, Kitsap

West, accompanying and coaching private voice students, team-teaching numerous theater classes, and most recently she was named Music Director for productions in PLU’s Theater & Dance program, including Amélie, music revues Off Broadway, and When You Wish Upon a Star, and Jasper in Deadland (Spring 2024). Amy is frequently asked to collaborate and perform with world-renowned conductors and elite ensembles at NWACDA, Washington ACDA, NAfME, and WMEA conventions. Recent notable collaborations have

in how we make authentic connections, especially in a world that has grown so busy and ‘digitized’ that such connections can be rare, fleeting, and absolutely stunning. I look forward to being witness, cheerleader, mentor, and companion as you find your true voice in creative nonfiction.”

  If We Sell You Our Land based on the famous speech by Chief Seattle was the subject of a story on National Public Radio’s Morning Edition show in 1987 and his subsequent opera Songs from the Cedar House based on the history and legends of Indian and White cultural interaction in the Pacific Northwest premiered in February of 1991 at Pacific Lutheran University in Tacoma, Washington. His other compositions include works for orchestra, band, choir, voice and chamber ensembles, and a one-act opera

Rachel Steinberg Mental Health Counseling Intern she/they Phone: 253-535-7206 Email: rachel.steinberg@plu.edu Office Location: Anderson University Center - 300 Professional Biography Education Master of Arts, Psychology, Seattle University, in process Bachelor of Music, Classical Voice Performance, Boston University, 2016 Areas of Emphasis or Expertise Program Assistant, Tavon Learning Center, 2022- 2023 Residential Manager and Caretaker, L'Arche Noah Sealth, 2021- 2022 Developmental Specialist

immediate preference and comfort; it’s essential for writers to engage deeply with the nuances of language, voice, and style and to develop a sensitivity and understanding toward the formal and technical aspects of their craft. By emphasizing aesthetic values in the workshop, I aim to equip my students with the tools and critical frameworks they need to both understand and create work that is personally meaningful and artistically significant.

Marlette Buchanan Lecturer Phone: 253-535-7602 Email: buchanml@plu.edu Office Hours: (On Campus) Mon - Fri: By Appointment Professional Biography Education M.M., Boston University B.A., Fisk University Responsibilities Applied Voice Lessons Biography Marlette Buchanan is an accomplished performer of opera, musical theatre, and other genres of music. She has received rave reviews from the Seattle Times, stating, “You know you’re in for something special here in Seattle from the moment Marlette

the hope that you will develop enduring strategies for maintaining your writing practice long after completing the program. Being a writer takes time, patience, and practice, there’s no universal formula for finding your voice and improving your craft. As you progress, my focus remains on process and revision, with the understanding that eventually you’ll likely have to negotiate your work’s intentions more directly with readers, editors, and critics. No matter your artistic and professional goals

arrive at the revelation of new understanding. Through study of creative nonfiction literary form and strategy we find new ways to uncover meaning and render actuality, which is why I ask students to analyze craft. Yet I no longer believe, as I did when I began teaching over twenty years ago, that my first job is to identify and repair flaws on your draft pages. Editing too soon is futile. Writing is revision. Critique is suggestion. First I help you identify and re-identify the intention, voice and