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undergraduate can to Dr. Gordon Medaris on the Precambrian evolution of the Great Lakes region. Interests Design Wood Metal and Stone Work Politics Music Fun Facts The music component ranges from jazz through new wave into noise rock.

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

Ryan Wagner Lecturer - Trombone Phone: 253-535-7602 Email: rew@plu.edu Professional Biography Education M.M., Trombone Performance, University of Washington B.M.E., Pacific Lutheran University Biography Ryan Wagner graduated from Pacific Lutheran University with a Bachelor’s of Music Education and the University of Washington with a Master’s of Trombone Performance. He is an active performer and educator throughout Washington state with extensive performance experience in classical, jazz, and

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

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.

Edwin Gordon and Beth Bolton. He also attended the University of Idaho, earning a Bachelor’s degree in music education, and a Masters of Music (saxophone performance) studying with Robert Miller. Dr. Gerhardstein is a frequent workshop clinician, guest conductor, and festival adjudicator. Prior to coming to PLU in 2014, he was the band director at West Valley High School in Yakima where his band program had a strong reputation for excellence in all areas (Concert Band, Jazz Band, and Marching Band

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

radical revision, with 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

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