Dimitar Ninov teaches music theory at Texas State University, San Marcos. He was the 2009 Chairman of the Board of Directors of the National Association of Composers, United States.
Ninov is a published composer and theorist, as well as an invited speaker at international, national and regional music conferences. Ninov’s music has been performed in North America, South America, Europe, and Asia. His scientific work extends to the field of tonal harmony and musical form. He has published articles in international journals and has delivered theory papers at international conferences in Belgrade, St. Petersburg, Leuven, Moscow, and Strasbourg. He has been a guest lecturer at the university of Nis as well as a presenter at the National Conference of CMS in Minneapolis and at a number of regional American conferences.
Dimitar Ninov’s children’s and adolescent piano albums, as well as his other piano works, are published by FJH Music Company and Abundant Silence Publishing, and his piece for violin and piano “The Prayer of the Lonely Man” is included in the CD series “Made in the Americas”. His piano piece for children “Gilded Leaves” is included in the sixth volume of the “Festival Collection” of FJH Music Company, where Ninov finds himself in the company of composers such as Bartók, Villa-Lobos, Kabalewski, Bohuslav Martinu, etc.
Dimitar Ninov holds a doctoral degree in composition from the University of Texas at Austin and master’s degrees in theory and composition from the National Academy of Music in Sofia, Bulgaria. In Bulgaria, he completed composition in the class of Prof. Alexander Raichev, and music theory – with Prof. Benzion Eliezer. In the USA, he graduated in composition with Prof. Russell Pinkston. Among his other Bulgarian and American professors, Neva Krasteva, Pencho Stoyanov, Ivan Helbarov, Bozhidar Abrashev, Dorothy Payne, Samuel Douglas, Jerry Curry, John F. Rogers and others stand out. In addition, Ninov studied jazz harmony and improvisation with the great jazz guitarist Alexander Petkov, he had consultations with the famous jazz pedagogues Bert Ligan and Jeff Helmer.

For orchestra:
Sketches for String Orchestra, Op. 7 (1994) ASCAP
Concerto for Clarinet and Orchestra, Op. 8 (1996) – 25′ ASCAP;
Spring Symphony, Op.12 (2003) – 22’ ASCAP
The Hunting, for symphony orchestra, Op. 25 (2008) – 4’ ASCAP;
Allegro, for symphony orchestra, Op. 29 (2011) – 4’ ASCAP;
Evening Shadows, for string orchestra, Op. 35 (2015) – 7′ ASCAP.

For Choir and Orchestra :
Gloria, for mixed choir and symphony orchestra, Op. 22 (2006) – 3’ ASCAP;
Moma gori momak (Maiden burns a Bachelor), for mixed choir and symphony orchestra, Op. 40 (2017) – 6′ ASCAP.
For Choir a Capella:
Rodina (Motherland), Op. 41 (2018) Lyrics by Georgi Severov – (appr 4’30” – 5′) ASCAP.

For piano:
Piano Album, Op. 1 (1989, revised in 1995, 2004) FJH, ASCAP;
Rondo for Piano, Op. 6 (1992, revised in 2003) – 4’15” ASCAP;
Gallery of Images, for piano, Op. 19 (2006) – 12’ Abundant Silence Publishing;
Seven Pieces for Children, Op. 21 (2007) in Contemporary Collage, Volume I, Books 1, 2, 3.

Book One: 1. Being Lonely; 2. School is Over!

Book Two: 3. Starry Night; 4. My Favorite Blues.

Book Three: 5. Nostalgic Bossa; 6. Dreaming; 7. Jazz Solace. FJH, ASCAP;
Five Pieces for Children, Op. 32 (2013): 1 Romantic Adventure; 2 In A Playful Mood; 3 A Whim; 4 Canon; 5 Lullaby, ASCAP;
Blues in G, for piano (four hands), Op. 11* (2014) 2′ ASCAP.

For voice and piano:
Two Songs for high voice and piano, Op. 3 (1991) Lyrics by Eftim Eftimov. 1. A Parable of the Shirt; 2. A Parable of Me. ASCAP;
Two Songs for high voice, flute, and piano, Op. 26 (2009-2013) 1. All Lovely Things, lyrics by Conrad Aiken; 2. Much To Learn, lyrics by Carmen Tafolla. Total time: 7’ ASCAP;
Flower, song for a middle voice and piano (words by Georgi Severov), Op. 38 (2016) – 3′ ASCAP;
Hunter’s Song, for high voice and piano (lyrics from the Turkic), Op. 39 (2016) – 3′ ASCAP.

For string quartet:
String Quartet No. 1 Mountain Stream, Op. 17 (2004) – 17’ ASCAP;
String Quartet No. 2 Inspirational Calmness, Op. 23 (2008) – 10’ ASCAP.

For Various Chamber Ensembles :
Sonata for Oboe, Clarinet and Bassoon, Op. 2 (1991) ASCAP;
Wind Quintet, Op. 4 (1992) ASCAP;
Recitative and Toccatina for Clarinet and Piano, Op. 5 (1992) – 5’30” ASCAP;
The Fugue Which Returns, for String Quartet, Op. 9, (1999) – 3’ ASCAP;
Trio for Clarinet, Violin, and Piano, Op. 10 (2000) – 8’ ASCAP;
Reflections, quintet for flute, clarinet, violin, violoncello, and piano, Op. 13 (2003) – 7’10” ASCAP;
Cinderella, for flute, violin, harp, and percussion, Op. 14 (2003) – 4’30” ASCAP;
Revelation, Trio for Violin, Violoncello, and Piano, Op. 15 (2004) – 8’30” ASACP;
A Lonely Man’s Prayer, for Violin and Piano, Op. 16 (2004) – 3’ ASCAP;
Music for Violoncello and Piano, Op. 18 (2005) – 6’40” ASCAP;
Music for Clarinet, Violoncello and Piano, Op. 20 (2006) – 6’30” ASCAP;
A Tale of the Water Nymphs, septet for two sopranos, flute, trombone, guitar, piano, and percussion, Op. 24 (2008) – 3:30 ASCAP;
In the Sea Garden, septet for chamber ensemble, Op. 27 (2010) – 7:30 ASCAP;
Sonatina Pastoral, for oboe, bassoon and piano, Op. 28 (2011) ASCAP;
Capriccio for Oboe and Piano, Op. 31 (2012) – 3’15” ASCAP;
Capriccio for Flute and Piano, Op. 33 (2013) – 4’30” ASCAP;
Wind Quintet No. 2, Op. 34 (2014) – 9′ ASCAP;
Gestures for Solo Clarinet, Op. 36 (2015) – 5′ ASCAP;
Romantic Mood in Sol, for violin and piano, Op. 37 (2015) – 3’10” ASCAP.