Dimitri Papageorgiou studied composition and music theory with H.M. Pressl and A. Dobrowoslki at the University of Music and Drama at Graz. In 1998, he received the Presidential Fellowship of the University of Iowa and moved to the US for doctoral studies in composition with D.M. Jenni, J.D. Roberts, and D. Gompper. Since 2007, he is appointed as assistant professor of composition at the Department of Music Studies of the Aristotles University of Thessaloniki.
Papageorgiou is one of the founding members of the dissonArt ensemble, a new music ensemble based in Thessaloniki.
His works have been aired several times by the ÖRF (Austria), the Greek National Radio (3rd Program and 95.8), and several U.S. Radio Stations. He has appeared in festivals and conferences in Greece, Austria, Russia, and several States of the U.S., such as the Klangspuren (Innsbruck, 2007), the Society of Composers,Inc. (SCI) National Conference (NY. 2001), SCI National Student Conference (OH, 2002; IA, 2004), 10th Annual Festival of Electroacoustic Music (FL, 2001), CalArts (CA, 2000), Festival of American Music (Moscow, 2001), Midwest Composers Symposium (IA, 1998; MI, 1999), Electronic Music Festival at Lewis (IL, 2001), SEAMUS Festival of Electronic Music (IA, 2006), Euphonia New Music Ensemble (Atlanta, GA, 2006), etc. Most prominently, the festival 4020.mehr als Musik Linz and the Minoritensaal Graz (2006) programed Papageorgiou's composer's portrait in their 2008 and 2006 season, respectively.
As a member of the Hermann Markus Preßl compositional circle and an admirer of Morton Feldman, Papageorgiou shares with them the same passion for timelessness, eternity, and nihilism. Such a background explains the concept of time shaping in his music: the slow paced motion - neither lazy nor heavy; not even the employment of rapid figures or dynamic edges disturb the impression of a rather serene atmosphere of metaphysical allusions. Action is not absent but rather emanent, unforseen and hidden in some inhabited depth. This is reinforced by the strategic placement of silences, which are lent their own sonority as sounds faint but do not disappear.
In this context, contradiction appears as an important feature, as evolutions break off before reaching their teleological goal and progressions dissolve as they get arrested in time-loops. As the music implodes, resonance colors the silence. At the same time, timbral explorations, mixtures and nuances pursue the sensual out of the rational.