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March 9-12, 2022 Spokane, Washington

Kelly Kaye is the direc- directing the Boise Gay Men’s Cho- school choral music director for 38
tor of the Boise Gay rus, she works with Opera Idaho as years. After graduating from Boise
Men’s Chorus. She chorus master, director of the Rising State University in 1983, she began
earned an MM and Stars program for high school stu- her teaching career in Spokane, WA.
BME from Arizona dents, and accompanist for Idaho From there she moved to Colorado,
State University. Following gradu- Opera Children’s Chorus. where she taught for 25 years. She
ation, she studied at the American received her MM from the Univer-
Institute of Musical Studies in Graz, Sidney Hudson is the sity of Northern Colorado in 1997.
Austria. In 2018, Kaye retired after director of the Boise Hudson currently serves as Idaho
23 years of teaching music in the Women’s Chorus. She ACDA president.
Boise School District. In addition to has been a secondary

2022 ACDA Northwestern Region Conference

oir
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Repertoire Spotlight Sessions
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essions
Reper
ASCAP + BMI: Performance Beyond the Sea Shanty: The Black Misunderstanding:
Licensing for Composers and Voice Building with Improving African American
Conductors (Composition Track) Beginning TB Choirs Historical and
Performance Practice
Attend this session on Perfor- This session is built on the con-
mance Licensing to get answers to cept of appropriate pedagogy and In our vocal jazz ensembles, we
the following burning questions: For skill building for those beginning TB often neglect to connect our reper-
Composers: Why should I join AS- singers in our ensembles, through toire and our teaching to the African
CAP or BMI? How do I get paid the avenue of repertoire that is both American roots from which the mu-
by ASCAP and BMI for my perfor- age-appropriate and beyond the sic came. This session will provide
mances? How much will I get paid “normal” themes of sea shanties valuable historical context and ideas
per performance? Is it really worth and drinking songs. Both of these for helping our singers and players
my time to report performances? concepts will be presented under the make these connections. Our per-
For Conductors: Do I need a perfor- umbrella of creating a climate and formances can honor the traditions
mance licenses from both ASCAP culture of trust in our ensembles, of black music that we love but often
and BMI? Why should I pay for a schools, and communities. misunderstand.
performance license if I already pur-
chased the music? How do I report Alonso Brizuela and Katie Elshire, John Staff ord, presenter
performances of works, and how do presenters Jeff Horenstein, coordinator

I know if composers are ASCAP or
BMI?

John Muehleisen, presenter

CHORAL JOURNAL January 2022 Volume 62 Number 5 163