Giteck, Janice, American composer and pianist; b. N.Y., June 27, 1946. She studied with Milhaud and Subotnick at Mills Coll. in Oakland, Calif. (B.A., 1968; M.A., 1969), and with Messiaen at the Paris Cons. (1969-70). She also studied electronic music with Lowell Cross and Anthony Gnazzo, Javanese gamelan with Daniel Schmidt, and West African drumming with Obo Addy. From 1979 she taught at the Cornish Inst. in Seattle. An interest in music therapy led her to psychology studies at Antioch Univ. in Seattle (M.A., 1986), and from 1986 to 1991 she worked as a music specialist at the Seattle Mental Health Inst. In 1999 she was one of four lead artists for ARTP (Artist’s Regional Transit Project), a performance/media collective work sponsored by the Municipality of Metropolitan Seattle (Metro). Her early compositions, variously scored, reflect interest in the language and lore of American Indians; her best- known work is the ceremonial opera A’agita (orig. and sacrilegiously entitled Wi’igita), based on the legends and mythologies of the Pima and Papago, a native American tribe living in southwestern Ariz, and Mexico. She is currently composing a new piece on the theme of “love and rage” for ensembles in Portland, Syracuse, and Atlanta as part of the Reader’s Digest/Meet the Com-poser Program.
ORCH Tree, chamber sym. (1982); Loo- wit for Viola and Orch. (1983); Hopi: Songs of the 4th World, film score (1983); Hearts and Hands, film score (1987). CHAMBER: String Quartet No. 1 (1963); Quintet for Piano and Strings (1965); Helixes for Flute, Trombone, Violin, Cello, Guitar, Piano, and Percussion (1974); Breathing Songs from a Turning Sky for Flute, Clarinet, Bassoon, Cello, Piano, and Percussion (1979-80; rev. 1984); Tapasya for Viola and Percussion (1987). VOCAL: How to Invoke a Garden/How to Invoke the Same Garden, cantata for Soloists and 10 Instruments (1969); Messalina, mini-opera for Man’s Voice, Cello, and Piano (1973); Wi’igita, later renamed A’agita, ceremonial opera for 3 Singing Actors, Dancing Actor, and 8 Instrumentalists/Actors (1976); 8 Sandbars on the Takano River for 5 Women’s Voices, Flute, Bassoon, and Guitar (1976); Callin’ Home Coyote, burlesque for Tenor, Steel Drums, and String Bass (1977); Far North Beast Ghosts the Clearing for Chorus, after Swampy Creek Indians (1978); Peter and the Wolves for Trombonist/Actor and Prepared Tape (1978); Pictures of the Floating World for Chorus and 10 Instruments (1987). M i x e d M e d i a : Thunder, Like a White Bear Dancing, ritual performance for Soprano, Flute, Piano, Hand Percussion, and Slide Projections, after the Mide Picture Songs of the Ojibwa Indians (1977). OTHER: When the Crones Stop Counting for 60 Flutes (1980).
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire