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Maria Panayotova - Study In Process Processed Study in Process Processed- 7'30" (2007)

This work is based upon an earlier composition entitled "Study in Process" for string quartet. There are three movements in the original, acoustic piece and each focuses on a specific compositional process employing very limited pitch material, palindromic figures and serial techniques. Because I was interested in working through various processes, the piece never attained a finished feel, which is why I called it a study. By reworking the original material through digital processing, I have finally "completed" the piece and thus the unusual title.
Maria Panayotova - In The Forest In the Forest - 16’10” (2006)

“In The Forest” is the audio portion of my first multimedia piece by the same name. Most of the percussion sounds in the piece, such as the seashells, rainsticks or tomtoms, were recorded in studio. The cicadas which create the rhythmic layers in the first section were recorded on the island of Hvar in Croatia. The long underlining melodies in the first and last section are a combination of elements from two of my earlier works, a digital piece called “Titania” and the last movement of a string quartet. The center piece of the third movement is a processed sample of my own performance of Schumann's Tr?umerei (Dreaming) from Kinderszenen. I specifically chose this piece because of the composer's intense relationship with nature and the experiences of childhood.
Maria Panayotova - Water I Water I - 6’16” (2007)

This is the audio portion of a multimedia project by the same name. It is the first piece in a proposed series of video installation pieces using water as a subject matter. The audio samples include water, my own voice and percussion instruments.
Maria Panayotova - Titania Titania - 4’21” (2002)

"Titania" is based on text from Shakespeare's "A Midsummer Night's Dream." The piece started out as just a simple song with a very direct feel, but then I added samples of wind howling and other processed sounds that place the song in a dream-like, distant context. I wanted the music to have the same effect as Shakespeare's play, where the audience is unsure if what they have experienced was a dream or reality.
Maria Panayotova - Silence Of The Deep Silence of the Deep - 8’05” (2000)

This was my first composition ever for computer music using CSound on an astoundingly fast 33 Mhz processor. I remember that fellow students and I would go out to eat or take naps when performing our scripts because the machine would take hours to process the sounds.