Janice Garnett Augustus (b. 1945) is a native of Cleveland, Ohio. Her mother
began teaching her piano at the age of four. At age five she began her
studies at the Phillis Wheatley School of Music. From the age of seven, she
studied piano extensively for seven years under the tutelage of Rose P.
Widder (protégé of Leopold Godowsky, Russian pianist and composer).
She began violin at the age of ten and soon studied with Gino Antal (of The
Cleveland Orchestra) and Helmut Braunlich (at Catholic University of
America, Wash., D.C.). She played violin in numerous orchestras, including
first chair in the following: the Cleveland All City Orchestra, the Mount
Pleasant Symphony, and the All City Orchestra in Washington, D.C. Janice
studied flute under James Turner and played flute and piccolo in several
concert and marching bands. For many years Janice studied dance with Gail
Crawford Gibson and drama with Ann Flagg at the Karamu Theater in Cleveland
and participated in both children’s and adult plays.
Janice received a scholarship to Howard University in Washington, D.C.,
where she majored in violin under the direction of Louia Von Jones and
Bernard Mason. She was concertmistress in the Howard University Orchestra.
She minored in piano and studied many other instruments at length. After
moving to Southern California in 1969, Janice played violin with the Beverly
Hills Symphony for a short while under the direction of Varujian Kojian.
Janice gave private lessons in violin and piano throughout her teaching
career.
As a teacher for the Archdiocese of Los Angeles for twenty years, Janice
taught academic subjects at Guardian Angel Catholic School, in Pacoima, to
Grades Six and Eight and music to Kindergarten through Grade Eight as well
as teaching piano classes, directing the award-winning Guardian Angel Glee
Club, and putting on recitals and plays. For twenty-six years she also
served as sole organist and director of two choirs for English and Bilingual
Masses. For many of these activities she used original music.
Janice currently resides in Southern California with her husband, Michael.
She has five children and several grandchildren and great-grandchildren.
Since retiring in 1996, she is able to devote much time to composing and has
completed several compositions, mostly for violin and piano. Janice
dedicates her music foremost to God, and then to her late mother, Willistine
Lavora Garnett.
Janice is a member of the
Center for
the Promotion of Contemporary Composers, the
American Composers Forum, the
Society of Composers,
Incorporated, the
International Alliance
for Women in Music, the
National Association of Composers, USA, and the
American Society of Composers,
Authors and Publishers (ASCAP).

Works
Six
Miniatures for Violin, Op. 1, Nos. 1-6 (1998)
A delightful collection of short pieces. Featuring themes that are
throwbacks to the late Baroque, Classical, and early Romantic masters, the composer
provides music that is enjoyable to play as well as to listen to.
Miniature
Sonata for Violin, Op. 2 (1998)
Should not be mistaken for being either short or simple. It lacks only
traditional sonata form in being a sonata in the "classical" sense.
Excellent motivic use binds each movement from start to finish, and the use of the
parallel minor for the slow movement adds an unusual harmonic touch.
Images of Zoria, Op. 3
(1998)
A lively sketch featuring an extended cadenza for the violin, this piece
gives us glimpses into the life of Zoria Silvers, a fictitious character whose life may
yet be set to words by the composer.
City Images, Op. 4
(1998)
Combines the violin and piano to produce a musical picture of city sounds.
Consonant and lyrical as the city is in its quieter times, dissonant and detached
as it is when alive and busy, this piece is very effective in producing the desired
images.
Sonatina
for Violin and Piano, Op. 5 (1998)
A three-movement piece in which the composer utilizes instruments in an
extended lively dialogue in the outer movements, while adding an interesting rhythm and
tempo combination in the middle movement.
Miniature in Two
Movements for Violin and Piano, Op. 6 (1998)
Consists of a slow movement resembling a nocturne, and a quick tempo
movement with a distinctive dance flavor.
Miniature
for Two Violins, Op. 7 (1998)
A three-movement work consisting of an up tempo first movement, a slow,
lyrical second movement, and a running, almost canonic third movement. Similar
figures in all three movements tie the work together.
Miniature
for Two Violins, Op. 8 (1998)
Three diverse movements beginning with the flavor of old Italy, a lushly
romantic adagio, and a playful romp that bears a resemblance to Mozart.
Miniature
for Two Violins, Op. 9 (1998)
Three movements of just plain enjoyable music. The composer
drives home her rhythmic motives throughout, but uses the melody to keep things from
getting boring. Lots of canonic sounds in typical Augustus fashion.
Miniature for Two Violins, Op. 10
(1998)
Augustus puts forth her own style with this work that features a few old and
many more new melodic ideas woven into rhythmic ideas from earlier works. A feature
of Augustus' music now shows itself in the canonic passages scattered throughout.
