379:(1925). Upon returning to Belgrade, he was a Docent and an associate professor of Music History until 1939. At the same time, up until 1946 he also taught at the Music School in Belgrade—previously Serbian Music School (principal 1943–46). In 1939 he became a professor of composition and theory disciplines at the Music Academy in Belgrade. During World War II Milojević was arrested (1941) by fascist authorities. During the heavy bombing of Belgrade by the American forces on Easter Day in 1944, his house on 16 Nemanjina Street in Belgrade was demolished, leaving him wounded. Of a diminished health condition, starting in February 1946, he was no longer able to continue teaching at the Music Academy. After the liberation, as a formality, he was appointed to the Music Academy Institute of Musicology managed at the time by musicologist and pianist
1040:
the only lectures in those disciplines at that institution. Milojević did not hold an independent office; his courses belonged to the
Department for Classical Archeology and Art History, and then Department for Comparative Literature and Literature Theory, and finally the Department for Serbian Literature. Music history was at the time studied as a minor course at the departments for general history, and comparative literature and literature theory. Attempts to open a musicology department were not materialized. By the act of the Kingdom of Yugoslavia Education Minister, on 4 April 1930 a Seminar for Musicology was founded at the School of Philosophy and Milojević became its first director. However, the degree granting possibility in musicology has never existed at the School where Miloje Milojević worked.
1078:
in his writings. The
Serbian postwar musicology did not approvingly view the stylistic aspect of his writings. Consequently, after his death, he was to a degree, and certainly unjustifiably underrated, and his writings were by all means insufficiently read. That was in any way, also the case in the relationship of Serbian postwar musicology toward the history of writing about music, as a branch of research and exploration in musicology. This discipline was deeply overshadowed by composition analysis, the priority of our musicology at the time. Only recently, primarily in the works by
125:
1032:’s harmonic style addressed issues of systematic musicology (Belgrade: Grafički Institut “Narodna misao,” A. D, 1926). His monograph Smetana—life and works, a pioneer work in thematic and genre terms in Serbian musicology, occupies a notable place among his musicological studies (Belgrade: S. B. Cvijanović, 1924). In his study entitled Music and Orthodox Church (Muzika i Pravoslavna crkva), he opened up the research of Serbian church music toward comparative disciplines such as music Byzantology and Oriental studies (
1408:
1070:,” the most influential daily paper in Serbia, from 1921 to 1941. The significance of his writings on music is multifold. In his essays and critiques, he provided for Serbian and Yugoslav audiences critical information about a number or events, personalities, phenomena, and issues on older and newer European music. A luminary and communicator of art music and its history, Milojević exceeded his duties of a disseminator of knowledge and information, and in his writings always presented a certain critical position.
1252:, and Monte Negro. He produced a number of works in this field and transcribed nearly 900 melodies and dances. He was attracted to folklore, both as a researcher and a composer, thus was also fond of the idea of composing art music upon folk tunes. His folk transcriptions entitled Folk songs and dances from Kosovo and Metohija were published recently, edited by Dragoslav Dević (Belgrade: Zavod za udžbenike—Karić fondacija, 2004).
24:
1616:(Elementi impresionističkog stila u srpskoj muzici prve polovine 20. veka). MA thesis defended in the Department of Musicology, Faculty of Music, University of Arts, Belgrade; mentors: Roksanda Pejović and Vesna Mikić; copies in the Library of the Academy of Arts, University of Novi Sad and in the Institute of Musicology of the Serbian Academy of Sciences and Arts, Belgrade.
1198:. Milojević took part in these concerts as an organizer, lecturer, conductor, and piano accompanist. Within the auspices of the association, he started and edited sheet music publishing, an activity of extraordinary importance. Beside Milojević's compositions, “Collegium musicum” published a number of works by Serbian, Slovenian, and Croatian composers (chronologically):
371:, music pedagogue, conductor, and organizer of music affairs. At first, he returned to his previous teaching positions at the gymnasium and music school. Concurrently, from 1920 until the beginning of 1922 he also held the conductor position with the Academic Singing Society “Obilić”. In fall 1922 he was appointed an assistant professor of Music History at the
236:. His last name was in fact Đorđević, but according to the custom at the time, he adopted a surname based on his father's first name. Dimitrije Milojević was rather musically gifted, being self-taught in playing the flute. The mother of Miloje Milojević, Angelina, was born in Belgrade, in the Matić clerk's family. She was also musically gifted and took private
1701:(Srpska muzikografija međuratnog doba u ogledalu korpusa muzičke periodike). Ph.D., defended at the Department of Musicology and Ethnomusicology, Academy of Music, University of Novi Sad; mentor: Danica Petrović; copies in the Library of Matica srpska in Novi Sad and in the Institute of Musicology of the Serbian Academy of Sciences and Arts in Belgrade.
1498:. (Miloje Milojević (1884–1946), Rukopisi kompozicija. Tekstovi. Dokumentacija). A critical catalogue, ed. by Slobodan Varsaković and Vlastimir Trajković. Belgrade: unpublished text. Copies in the Library of the Faculty of Music, Belgrade, and in the Institute of Musicology, Serbian Academy of Sciences and Arts, Belgrade
1097:
Milojević was also one of the editors of periodical the “Music” (Belgrade, January 1928 – March 1929). Among the most superior music periodicals in Serbia and
Yugoslavia prior to World War I, the “Music” had a decisive role in critical presentation of European music to the internal readers’ audience.
1077:
His breadth of education, exceptional awareness of developments in
European music, including the avant-garde, and knowledge of German, French, Czech, and English musicology literature, enabled Milojević to exercise an ardent, invigorating writing style, without neglecting factual and expertise layers
1089:
In
Milojević's writings, noticeable is a friction between tradition and innovation, most apparent in his writings on contemporary music. His views on contemporary music were not straightforward, but rather vacillating, particularly in accepting radical avant-garde practices. At the same time, he did
1039:
His pedagogical work in musicology was also very important. He taught history and theory of music at the
Belgrade University School of Philosophy from 1922 to 1939 (Assistant Professor since 1922, Docent since 1927, and associate professor since 1934). These were the pioneering and until present day
431:
was decisive in
Milojević's stylistic development. While in Prague, working on his dissertation, he made contacts with Czech avant-garde composers. In certain works, Milojević turned to expressionism. Throughout his life, though, he preserved his affinity toward the national style—toward folklore as
344:, in the student squadron. While in military service, he was appointed a music teacher in the Fourth Belgrade Gymnasium, and the same year also started teaching in the Serbian Music School. In 1912, he founded the Serbian Music School Teachers’ Chamber Society. This event initiated the nurturing of
1073:
In his numerous evaluations of national composers’ contemporary output, he offered objective assessments, later largely adopted in
Serbian musicology. A passionate proponent of the Slavophil and Yugoslav ideology, he nonetheless did not allow ideology to rule over aesthetics. Thus, the autonomy of
1061:
Miloje
Milojević was also a Serbian music critic and essayist of the first half of the 20th century, and one among the most significant music critics and writers in the history of Serbian music. He published over a thousand critiques, studies, essays, treatises, reviews, obituaries and notes in a
390:
Milojević was married (from 1907) to a vocalist and music pedagogue Ivanka
Milutinović (1881–1975). They had one daughter, Gordana (1911–2003), a pianist and music pedagogue. Nephew Đorđe (1921–1986), the son of Borivoje, was a violoncellist and a composer. The grandson of Miloje Milojević is a
363:
to the Committee for Cultural Affairs. He remained in France from 1917 until mid 1919. During the entire war, he remained involved with composing; he also performed at concerts of Serbians music in Nice, Monte Carlo, Lyon, and Paris as a piano accompanist, and held a public lecture about modern
1189:
In 1925–26 together with the group of university faculty, Milojević founded a university chamber music association “Collegium musicum” that played a major role in Belgrade interwar life. Between 21 April 1926 and 15 March 1940, “Collegium musicum” held sixty-seven concerts and performed 417
457:), a collection of ten songs, was conceived between 1908 and 1920. This song cycle features all the elements representative of Milojević as a composer of this genre (Serbian romanticist Lied, influences of R. Strauss, and Impressionism). Among the most successful Lieder in this cycle are
1238:. In regard to such endeavor, Konjović remarked: “Through the activities of Miloje Milojević, ‘Collegium musicum’ by its selections, editorship, print and technical appearance, represented a big step toward Europization of Serbian and Yugoslav music culture” (compare with P. Konjović,
656:) (1935), a stride toward Expressionism, occupies a special place in his oeuvre, whereas the piano is treated in a somewhat percussionist way, certain places are void of meter markings, and the harmonic aspect is characterized by the departure from tonality and use of tone clusters.
446:
In his Lied, Milojević used Serbian, Croat, French, German, and Japanese poetry. His interpretation of the lyrics was realized by supple melodies and rich harmonic palette of the piano part. Among his pieces for voice and piano, it is important to note the following:
411:, Miloje Milojević represented a generation of composers who introduced modern styles and a high compositional technical level to Serbian music. In the beginning phase of his creative development, Milojevic set out from the Serbian Romanticist national school (
682:
works. He composed two string quartets (in G-major, 1905 and in c-minor, 1906), the G-major quartet being the first work of this genre in Serbian music. He also composed two sonatas for violin and piano (in b-minor, 1924 and in d-minor 1943),
1563:(Kompozitorsko stvaralaštvo Miloja Milojevića). Conference Proceedings, 25–27 November 1996, on the occasion of the 50th anniversary of the composer's death. Belgrade: Institute of Musicology of the Serbian Academy of Sciences and Arts.
1673:(Recepcija avangardne muzike u međuratnom Beogradu: primer časopisa "Muzika" i "Glasnik Muzičkog društva Stanković" / "Muzički glasnik"). In Zbornik Matice srpske za scenske umetnosti i muziku (Novi Sad), no. 44, pp. 133–151.
355:, Milojević was drafted as a sergeant for the Dunav Division cavalry squadron. Following the outbreak of World War I he was appointed to the Supreme Command headquarters (until 1917). He crossed Albania with the Serbian Army (
1110:
I–II, 1922–27; later under a new title The Basic theory of music, thirteen editions, until 1940) was in use for a long time, as well as his handout course package in harmony, assembled from the well known textbook entitled
1106:. “Music” offered discussions on national style, and critically recorded events in Yugoslav, Slavic, and Western European art music cultures. During the interwar period, Milojević's textbook on the basics of music theory (
785:, op. 39, for tenor, soprano, flute, violin, and piano (“Since she left” (“Od kada je otišla”) and “In the shade of an orange leaf” (“U senci narandžina lista”); and “Spring rain,” (“Prolećna kiša”), op. 45, no. 2.
675:) (1939), built on the re-la-do-mi-la motive, deems far more successful. While featuring six movements and several moods (depicted by the subtitles), this composition demonstrates coherency and rich sound colour.
1584:(Literatura o muzici u "Srpskom književnom glasniku" 1901–1941), MA thesis defended at the Department for Comparative Literature and Theory of Literature, Faculty of Philology, University of Belgrade; mentor:
691:
for viola solo (1944). The most substantial among these works is Sonata for violin and piano in b-minor, a piece of sturdy structure and great expressivity ranging from discrete lyricism to passionate drama.
1547:
Stefanović, Ana. 1996. "Poetry of Jovan Dučić in Stevan Hristić’s and Miloje Milojević’s Lied" ("Poezija Jovana Dučića u vokalnoj lirici Stevana Hristića i Miloja Milojevića"). In Predrag Palavestra (ed.)
714:(vol. 1, no. 1, selection by Dejan Despić, Vlastimir Peričić, Dušan Trbojević, and Marija Kovač; editing: Vlastimir Trajković; Belgrade: Composers’ Association of Serbia, CAS, 2005, pp. 30–96), with
1666:(Pedagoška aktivnost dr Miloja Milojevića). Ph.D., defended 2010 at the Department for Solfeggio and Music Pedagogy, Faculty of Music, University of Arts in Belgrade; mentor: Dragana Stojanović-Novičić.
1062:
large number of various daily papers, and literary and other periodicals. He was a music critic of the most relevant Serbian literary periodical during the first half of the 20th century, the “
1046:
The Belgrade Faculty of Music Library stores his unfinished textbook on music history. This was the first comprehensive work on music history by a Serbian author since the textbook entitled
667:) (1921), with glimpses of R. Strauss's influences. This work somewhat exhibits insufficiencies in the aspects of thematic development and orchestral sound. His suite for string orchestra,
644:) (all from 1942), are all based on folklore and Milojević's own folk transcriptions. These works feature impressionistic solutions, but also a somewhat robust use of folklore similar to
432:
a foundation of art music. Thus, the last stage of his creative work is characterized by utilizing folk melodies amidst the stylistic blend of Neo-romanticist and Impressionist elements.
1516:(Miloje Milojević, kompozitor i muzikolog). Papers from the Conference held on the occasion of the 100th anniversary of the composer's birth. Belgrade: Composers’ Association of Serbia.
255:. His first piano teacher was his mother, Angelina. His father's sudden death turned the family life upside-down. The changed financial situation made his mother, now a widow, move to
356:
505:
Milojević also wrote choral music. His activities in this genre encompass simple, unassuming music for children's and youth choirs to complex works. The most significant include:
1086:, and Aleksandar Vasić, are the writings of Miloje Milojević being thoroughly examined and undertaking work on his bibliography and minute analysis of his texts being suggested.
1609:(Položaj avangarde u srpskoj muzičkoj kritici i esejistici prve polovine XX veka – Srpski književni glasnik). In Musicology (Muzikologija) (Belgrade), no. 5, pp. 289–306.
1544:(Srpska vokalna lirika na raskršću tradicija). MA Thesis defended at the Department for Musicology, Faculty of Music, University of Arts, Belgrade; mentor: Vlastimir Peričić.
1043:
Milojević's university courses were thematically and chronologically rather diverse and attracted a large number of attendants. He was an extraordinary speaker and lecturer.
263:(graduated 1904). This school was well known for its music activities (Svetosavke besede). During his music education, Miloje Milojević received encouragement from composer
1602:(Recepcija evropske muzike u muzičkoj kritici „Srpskog književnog glasnika” (1901–1941)). In Naučni sastanak slavista u Vukove dane (Beograd), vol. 34/2, pp. 213–224.
1437:
734:; “The Autumn elegy” (“Jesenja elegija”), op. 5, no. 1; “The Prayer of the Jugović mother to the Evening star” (“Molitva majke Jugovića zvezdi Danici”), op. 31, no. 1;
259:
where life was more affordable. The Milojević family lived in Novi Sad for six years. Miloje began his schooling in Novi Sad in his junior year at the Serbian Orthodox
1694:(Srpska muzička periodika međuratnog doba i pitanje nacionalnog stila). In Zbornik Matice srpske za scenske umetnosti i muziku (Novi Sad), no. 47, pp. 65–77.
1477:(Miloje Milojević, kompozitor i muzički pisac). Belgrade: Serbian Academy of Sciences and Arts (Monographs, no. CCXX, Department for Fine Arts and Music, no. 1).
1530:(Miloje Milojević – professor Filozofskog fakulteta u Beogradu). In Zbornik Matice srpske za scenske umetnosti i muziku (Novi Sad), vol. 6–7, pp. 325–348.
372:
1286:, Ljiljana Molnar-Talajić, soprano, Nada Vujičić, piano. Gramofonska ploča, Radio televizija Beograd, Edition: „Anthology of Serbian Music”, Belgrade, 1977.
1680:(Recepcija zapadnoevropske muzike u međuratnom Beogradu: primer časopisa "Muzički glasnik" i "Muzika"). In Muzikologija (Beograd) no. 11, pp. 203–218.
1729:
384:
34:
1671:
Reception of avant-garde music in Belgrade between the two wars: the example of journals "Music" and „The Herald of the Musical Association „Stanković"
464:
About fifteen Lieder composed in France in 1917 after the lyrics by French poets were influenced by Impressionism, the best known among them being
1163:(Belgrade: Géza Kohn (Geca Kon) publishing, I, 1926; II, 1933; Belgrade: edited by Gordana Trajković-Milojević, author's publication, III, 1953).
1058:
by Božidar Joksimović, completed in 1926 (400 pages), still unpublished is kept at the Archives of the SASA Institute of Musicology in Belgrade.
1556:), collection of papers on the occasion of the 50th anniversary of his death. Belgrade: Serbian Academy of Sciences and Arts, pp. 147–154.
730:(no. 1, selection and foreword by Ana Stefanović, Belgrade: CAS, 2008, p. 49–101) with “The Nymph” (“Nimfa”), op. 9, no. 1 form the cycle
1739:
298:). He concurrently attended Serbian music school (until 1907, and also later), where he studied music theory subjects and composition with
1094:
in the “Serbian Literary Herald.” He, however remained faithful to the ideas of national style in music and modernized music Romanticism.
525:) (1912), marked by Neo-romanticist chromaticism and polyphony, and considered among masterpieces of Serbian choral literature; and cycle
1090:
not withhold from his audience information on events he personally did not endorse. A worthy example was his as early as 1912 text on
569:) (1930), is a humorous scherzando piece written upon folk text and utilizing tone painting. This effective work is often compared to
1644:
Radoman, Valentina. 2009. "French Impressionists and their Others: Impressionistic Works of George Enescu and Miloje Milojević". In
1459:
367:
In 1919, Milojević returned to Belgrade and developed an extraordinary rich music career as a composer, musicologist, music critic,
92:
260:
1641:(Starija srpska muzička kritika: kanon, postupak, prosvetiteljska tendencija). In Muzikologija (Beograd), no. 8, pp. 185–202.
561:)), a work of modern expression and high technical demands regarding choral texture. Milojević's most popular choral composition,
64:
1724:
1313:, Aneta Ilić, soprano, Lidija Stanković, piano CD. Srpska akademija nauka i umetnosti – Muzikološki institut SANU, Belgrade 2010.
321:), literature, and philosophy disciplines. At the same time, Milojević attended Munich Music Academy, studying composition (with
1685:
Empire and Nation in the Field of Culture: Imperial and National Ideology in Compositions of Claude Debussy and Miloje Milojević
1678:
The reception of West European Music in Belgrade between World Wars: on the Examples of "Muzički glasnik" and "Muzika" magazines
71:
49:
299:
1653:
At the Crossroads of the East and West. On the Dialogue between the Traditional and the Modern in Serbian Music (1918–1941)
777:), op. 34 (“A Little princess” (“Mala princeza”) and “Love” (“Ljubav”)); “A Very hot day,” op. 67, no. 1, from the cycle
704:
592:
Miloje Milojević is one of the most significant Serbian composers of piano music. By their high artistic qualities, his
502:), “a lyrical symphony for voice and orchestra” (1939) represents the first example of symphonic Lied in Serbian music.
376:
309:
For the next five semesters (summer 1907–08 until summer 1909–10 academic year), Milojević continued his studies at the
252:
1420:
1245:
Milojević was a regular piano accompanist at concerts of his wife, the first Serbian concert singer, Ivanka Milojević.
78:
1659:). Belgrade – Novi Sad: Institute of Musicology of the Serbian Academy of Sciences and Arts, Belgrade – Matica srpska.
1430:
1424:
1416:
1170:, published in 1938 in the “Serbian Literary Herald” is included in the anthology of Serbian music essayism entitled
1639:
Serbian Musical Criticism in the First Half of the Twentieth Century: its Canon, its Method and its Educational Role
419:). During his studies in Munich, he discovered German New Romanticism and became closely involved with the music of
1734:
1207:
359:). In 1917, Milojević was in service for the Kingdom of Serbia Ministry of Education, during which he was sent to
60:
295:
1441:
124:
1293:, op. 2, Biljana Gorunović, piano, CD. Produkcija gramofonskih ploča Radio televizije Srbije, Belgrade, 2001.
480:), the most remarkable being “A very hot day” from 1924 (“Vrlo topli dan”), composed upon German lyrics, and
395:(1947), Professor of Composition and Orchestration at the Faculty of Music, University of Arts, in Belgrade.
1634:(Problem nacionalnog stila u napisima Miloja Milojevića) In Muzikologija (Beograd), no. 7, pp. 231–244.
1480:
1373:
1199:
1063:
1353:
1231:
326:
241:
1263:
1262:
His legacy, classified and catalogued is kept in the family archives of Milojević's grandson, academician
1051:
392:
334:
271:
240:
lessons. Miloje Milojević had a sister Vladislava, and brothers Vojislav, Vladislav, Branko, Milorad, and
1600:
Reception of the European Music in the musical criticism of "The Serbian Literary" Magazine (1901–1941)
459:
The Autumn Elegy (Jesenja elegija), The Eagle song (Pesma orla), Japan, The Nymph, and The Bells (Zvona)
1235:
1179:
1083:
380:
375:. Soon afterward he turned to completing his musicology studies and earned his doctorate degree at the
303:
1383:
1227:
1079:
1719:
1714:
1585:
1368:
1103:
1248:
As a folklorist, he explored, transcribed, and interpreted musical folklore of Kosovo and Metohija,
1223:
1036:: “An annual and calendar of Serbian Orthodox Patriarchy for simple 1933,” 1932, pp. 115–135).
616:) (1943) are characterized by the synergy of Neo-romanticism and Impressionism. His cycles entitled
1692:
Serbian music periodicals between the two world wars and the problem of the national style in music
1363:
1358:
1323:
1183:
659:
Milojević was less prolific in the genre of orchestral music. Among his orchestral compositions is
416:
283:
85:
1211:
600:) (1917), marked a shift in the history of Serbian piano music. His highly successful collections
1249:
1120:
1614:
The Elements of the Impressionistic Style in Serbian Music in the first half of the 20th Century
1570:. (Napisi Miloja Milojevića o solo pesmi). In Muzički talas (Belgrade), no. 1–3, pp. 66–75.
1029:
534:
1266:, composer and Professor of Composition and Orchestration at the Faculty of Music in Belgrade.
809:
La lettre, Berceuse triste, Prière, Hymne au soleil, L’heure exquise, La chanson du vent du mer
1687:. In Music and Society in Eastern Europe (Idyllwild, California, USA), vol. 6, pp. 35–50.
1657:
Na raskršću Istoka i Zapada. O dijalogu tradicionalnog i modernog u srpskoj muzici (1918–1941)
1388:
1333:
1279:, Ivanka Milojević, voice, Miloje Milojević, piano. Gramofonska ploča, „Pathé – France, (19?).
1219:
1145:
1137:
1091:
769:
645:
408:
404:
341:
310:
279:
275:
152:
1378:
1338:
1175:
1033:
514:
412:
352:
314:
291:
287:
197:
1537:(Letopis muzičkog života u Beogradu 1841–1941). Belgrade: Muzej pozorišne umetnosti Srbije
1195:
440:
420:
322:
1343:
1328:
489:
264:
1577:(Muzička kritika i esejistika u Beogradu /1919–1941). Belgrade: Faculty of Musical Arts.
228:
The father of Miloje Milojević, Dimitrije, an apparel merchant, was born in the village
1191:
1153:
1124:
1099:
811:(Pismo, Tužna uspavanka, Molitva, Himna suncu, Zanosni čas, Pesma vetra s mora) (1917).
318:
174:
1623:
and the Polish Art Music" ("Srpski književni glasnik i poljska umetnička muzika"). In
340:
Between 1 September 1910 and 1 March 1911, Milojević served his military duty for the
1708:
1348:
1215:
1203:
1132:
679:
428:
345:
1303:. CD. Učiteljski fakultet Univerziteta u Beogradu i Dušan Stojanović, Belgrade 2009
1159:
The selected writings of Miloje Milojević were published in three volumes entitled
213:
1509:), Music, vol. 13–14. Zagreb: Yugoslav Lexicographic Institute "Miroslav Krleža".
274:, where he studied for three semesters (fall 1904 until spring 1906): Germanics (
330:
233:
23:
1098:
This was especially corroborated by thematic volumes dedicated to Czech music,
41:
1299:, Dušan Stojanović, violoncello, Radmila Stojanović, piano. Miloje Milojević:
1256:
1028:. His dissertation, defended at the Charles University in Prague and entitled
1025:
635:
368:
492:, from 1942. These works merge impressionistic and expressionistic elements.
217:
1627:, ed. Petar Bunjak. Slavističko društvo Srbije (Beograd), pp. 243–256.
1074:
art and primacy of aesthetic values were never questioned in his writings.
577:) by S. Mokranjac. Milojević also wrote sacred music (two liturgies, three
1699:
Serbian Interbellum Music Writings in the Mirror of the Music Periodicals
1067:
970:
256:
251:
lessons at the age of five, with Karlo Mertl, an orchestra member of the
209:
205:
201:
185:
170:
148:
1284:
The Nymph – Japan – The Prayer of the Jugović Mother to the Evening Star
1523:. In Godišnjak grada Beograda (Belgrade), vol. XXXIII, pp. 93–132.
1528:
Miloje Milojević – professor at the Faculty of Philosophy in Belgrade
424:
248:
229:
1190:
compositions ranging from Baroque and Rococo pieces to the works of
1588:; copy in the Department Library, Faculty of Philology in Belgrade.
385:
Institute of Musicology of the Serbian Academy of Sciences and Arts
1632:
Problem of the "National Style" in the Writing of Miloje Milojević
360:
237:
427:
resulted with even stronger impressions. The influence of French
391:
composer and member of the Serbian Academy of Sciences and Arts,
1582:
Literature on music in the "Serbian Literary Magazine" 1901–1941
866:
Melodies and Rhythms from the vicinity of Sara, Drim, and Vardar
695:
One of Milojević's most distinct works belongs to stage music —
436:
1401:
17:
1575:
Musical criticism and essay writings in Belgrade (1919–1941)
925:(Dugo se polje zeleni), for mixed choir, op. 1, no. 1 (1909)
513:) (1909), a miniature for mixed choir, after the lyrics of
443:
for the piano, but he also wrote choral and chamber works.
1020:
Musicologist, music critic, folklorist, and music promoter
581:(Orthodox Requiem), a particularly successful piece being
1646:„George Enescu” International Musicology Symposium – 2007
807:
Songs after lyrics of French poets, for voice and piano:
313:
Philosophy Department, where he studied musicology (with
703:) (1923), a ballett grotesque upon a surrealist text by
1595:(Klavirska muzika Miloja Milojevića). Belgrade: "Clio".
1024:
Milojević was the first Serbian to hold a doctorate in
45:
1648:, Bucharest: Musical Publishing House, pp. 53–62.
1301:
The Nymph, The Christmas Song, The Legende of Yéphimia
1066:,” from 1908 to 1941. He was also a music critic for “
1186:(visual arts), published in 1966 (pp. 251–262).
270:
Milojević matriculated at the Faculty of Philosophy,
1297:
Music for violoncello and piano by Serbian composers
181:
159:
134:
115:
1307:Identities of Serbian music in 20th–21st centuries
1054:. Another voluminous material in manuscript form,
870:Melodije i ritmovi sa domaka Šare, Drima i Vardara
387:, SASA). Milojevic died 16 June 1946 in Belgrade.
472:). From his later period, important ones include
267:(1878–1915), his secondary school music teacher.
1607:"Serbian Literary Magazine" and Avantgarde Music
1535:Musical life in Belgrade 1841–1940: a chronology
1429:but its sources remain unclear because it lacks
1102:, achievements of Polish and English music, and
1559:Peričić, Vlastimir; Milin, Melita (eds). 1998.
1501:Kuntarić, Marija (editor-in-chief). 1984–1986.
1496:Manuscripts of Compositions – Texts – Documents
1309:, songs and music for piano. Miloje Milojević:
1168:The Artistic ideology of Stevan St. Mokranjac
8:
1542:Serbian Lied at the crossroads of traditions
1015:), suite for string orchestra, op. 56 (1939)
852:(Ritmičke grimase), for piano, op. 47 (1935)
50:introducing citations to additional sources
1514:Miloje Milojević, composer and musicologist
1475:Miloje Milojević, composer and music writer
1240:Miloje Milojević, composer and music writer
990:(Sobareva metla) (1923), a ballet grotesque
685:Sonata for flute and piano in f-sharp minor
435:The most prominent areas of his output are
1561:The Works of the composer Miloje Milojević
1491:). Belgrade: "Prosveta", pp. 282–296.
804:), ten songs for voice and piano (1908–20)
123:
112:
1460:Learn how and when to remove this message
1130:Milojević translated opera librettos for
373:Belgrade University Faculty of Philosophy
351:In the fall of 1912, at the onset of the
1521:"Collegium musicum" and Miloje Milojević
1277:The Macedonian Berceuse – Two love songs
831:), cycle for voice and orchestra (1939).
726:, op. 65. He is also represented in the
129:Miloje Milojević on a 2009 Serbian stamp
40:Relevant discussion may be found on the
935:), for mixed choir, op. 1, no. 2 (1912)
710:Miloje Milojević is represented in the
1503:A Bibliography of Studies and Articles
912:Sonata for Violin and Piano in B Minor
357:Serbian army's retreat through Albania
329:), and conducting with score reading (
1494:Milojević, Miloje (1884–1946). 1979.
882:Melodies and rhythms from the Balkans
722:, impressions for piano, op. 51, and
618:Melodies and rhythms from the Balkans
488:), after the poetry of Japanese poet
348:in Belgrade on a more regular basis.
200:: Милоје Милојевић; 27 October 1884,
7:
1259:bears the name of Miloje Milojević.
815:Three Songs for High Voice and Piano
779:Three songs for high voice and piano
282:), Serbian language and literature (
1568:Miloje Milojević’s writings on Lied
678:Miloje Milojević wrote a number of
1152:by Henry Meilhak – Philippe Jules/
955:), op. 40, for mixed chori (1930),
878:(Kosovska svita), for piano (1942)
216:, music critic, folklorist, music
14:
1730:People from the Kingdom of Serbia
819:Tri pesme za visoki glas i klavir
798:Before the Magnificence of Nature
732:Before the Magnificence of Nature
451:Before the Magnificence of Nature
1507:Bibliografija rasprava i članaka
1406:
1311:The Nymph and The Autumnal Elegy
712:Anthology of Serbian piano music
33:relies largely or entirely on a
22:
1664:Miloje Milojević, the Pedagogue
1625:110 godina polonistike u Srbiji
1593:Piano Music of Miloje Milojević
1144:by Jules Barbie – Мichel Carré/
999:The Death of the Jugović mother
661:The Death of the Jugović mother
247:Miloje Milojević began private
1242:, Belgrade: SASA, 1954, 177).
862:), for piano, op. 51 (1937–42)
793:Solo Lied and Symphonic Lied:
474:The Three songs for high voice
1:
1621:The Serbian Literary Magazine
1512:Simić, Vojislav (ed.). 1986.
959:A Short Opelo in b-flat minor
886:Melodije i ritmovi sa Balkana
622:Melodije i ritmovi sa Balkana
583:A Short Opelo in b-flat minor
1740:Composers of Christian music
377:Charles University in Prague
253:National Theatre in Belgrade
1651:Tomašević, Katarina. 2009.
923:How Green is the Long Field
760:Two Quatrains of Al-Ghazali
589:), for men's choir (1920).
507:How green is the long field
278:), comparative literature (
1756:
1683:Radoman, Valentina. 2011.
1619:Vasić, Aleksandar. 2006. "
1612:Radoman, Valentina. 2005.
1591:Katunac, Dragoljub. 2004.
1533:Turlakov, Slobodan. 1994.
1519:Turlakov, Slobodan. 1986.
1489:Muzički stvaraoci u Srbiji
965:), for men's choir (1920).
775:Dve Dučićeve Plave legende
533:) (1924), after poetry of
1697:Vasić, Aleksandar. 2012.
1690:Vasić, Aleksandar. 2012.
1676:Vasić, Aleksandar. 2011.
1669:Vasić, Aleksandar. 2011.
1637:Vasić, Aleksandar. 2008.
1630:Vasić, Aleksandar. 2007.
1605:Vasić, Aleksandar. 2005.
1598:Vasić, Aleksandar. 2005.
1580:Vasić, Aleksandar. 2004.
1573:Pejović, Roksanda. 1999.
918:Choral and Sacred Works:
835:Piano and Chamber Music:
802:Pred veličanstvom prirode
764:Dva Al-Gazalijeva katrena
728:Anthology of Serbian Lied
455:Pred veličanstvom prirode
122:
1526:Živanović, Đorđe. 1990.
1415:This article includes a
1161:Music studies and essays
1005:), symphonic poem (1921)
994:Orchestral Works :
979:), for two choirs (1929)
478:Tri pesme za visoki glas
364:Serbian music in Paris.
244:, a renowned biologist.
1725:Musicians from Belgrade
1566:Stefanović, Ana. 1999.
1540:Stefanović, Ana. 1995.
1473:Konjović, Petar. 1954.
1444:more precise citations.
1208:Lucijan Marija Škerjanc
1064:Serbian Literary Herald
844:Četiri komada za klavir
598:Četiri komada za klavir
949:The Fly and a mosquito
939:The Feast of illusions
587:Kratko Opelo u b-mollu
563:The Fly and a Mosquito
527:The Feast of illusions
296:Branislav Petronijević
272:University of Belgrade
220:, and music promoter.
204: – 16 June 1946,
1232:Bogomir-Bogo Leskovac
1166:Milojević's treatise
1108:Basics of musical art
963:Kratko Opelo u b-molu
821:), op. 67 (1924–1942)
789:Selected compositions
752:Do you remember, too?
555:Dark gloomy afternoon
333:). He graduated from
327:Richard Meier-Gschray
1374:Stefan Stratimirović
1255:The music school in
1142:The Tales of Hoffman
1113:The Study of Harmony
1104:Ludwig van Beethoven
1052:Ljubomir Bošnjaković
977:Vidovdanska pričest
892:The Povardarie suite
768:Two blue legends of
559:Crno sumorno popodne
511:Dugo se polje zeleni
335:Munich Music Academy
300:Stevan St. Mokranjac
46:improve this article
1485:Composers in Serbia
1270:Selected recordings
1264:Vlastimir Trajković
1003:Smrt majke Jugovića
908:), for piano (1942)
902:The Village motives
898:), for piano (1942)
872:), for piano (1942)
850:Rhythmical grimaces
756:Dal’ se sećas i ti?
665:Smrt majke Jugovića
650:Rhythmical grimaces
543:Večernje dekoracije
539:Evening decorations
393:Vlastimir Trajković
294:), and philosophy (
1481:Peričić, Vlastimir
1417:list of references
1289:Miloje Milojević,
1282:Miloje Milojević,
1275:Miloje Milojević,
1056:A History of Music
1048:A History of Music
766:), op. 46, no. 2;
758:), op. 46, no. 1;
742:), op. 21, no. 1;
517:; dramatic ballad
61:"Miloje Milojević"
1735:Serbian composers
1470:
1469:
1462:
1389:Stanislav Binicki
1236:Vojislav Vučković
1200:Predrag Milošević
1180:Stana Đurić-Klajn
1146:Jacques Offenbach
1138:P. I. Tchaikovsky
1136:by A. S. Pushkin/
1092:Arnold Schoenberg
1084:Slobodan Turlakov
988:Le balai du valet
896:Povardarska svita
840:Four piano pieces
750:), op. 22, no.1;
716:Four piano pieces
697:Le balai du valet
642:Povardarska svita
594:Four piano pieces
381:Stana Đurić-Klajn
342:Kingdom of Serbia
311:Munich University
304:Cvetko Manojlović
232:near the town of
191:
190:
153:Kingdom of Serbia
111:
110:
96:
1747:
1465:
1458:
1454:
1451:
1445:
1440:this article by
1431:inline citations
1410:
1409:
1402:
1384:Stefan Lastavica
1359:Josif Marinković
1339:Stevan Mokranjac
1324:Kosta Manojlović
1228:Milenko Živković
1184:Lazar Trifunović
1080:Roksanda Pejović
1034:Sremski Karlovci
945:), op. 35 (1924)
888:), op. 69 (1942)
876:The Kosovo suite
846:), op. 23 (1917)
783:La flûte de jade
654:Ritmičke grimase
626:The Kosovo suite
608:) (1937–42) and
441:character pieces
417:Josif Marinković
413:Stevan Mokranjac
353:First Balkan War
315:Adolf Sandberger
284:Aleksandar Belić
208:) was a Serbian
198:Serbian Cyrillic
194:Miloje Milojević
166:
144:
142:
127:
117:Miloje Milojević
113:
106:
103:
97:
95:
54:
26:
18:
1755:
1754:
1750:
1749:
1748:
1746:
1745:
1744:
1705:
1704:
1662:Gordana Karan,
1586:Danica Petrović
1554:O Jovanu Dučiću
1466:
1455:
1449:
1446:
1435:
1421:related reading
1411:
1407:
1400:
1394:
1369:Tihomir Ostojić
1320:
1272:
1196:Igor Stravinsky
1022:
914:, op. 36 (1924)
829:Gozba na livadi
825:The Field feast
791:
736:L’heure exquise
535:Miroslav Krleža
500:Gozba na livadi
470:Tužna uspavanka
466:Berceuse triste
421:Richard Strauss
401:
323:Friedrich Klose
302:and piano with
226:
177:
168:
164:
155:
146:
145:27 October 1884
140:
138:
130:
118:
107:
101:
98:
55:
53:
39:
27:
12:
11:
5:
1753:
1751:
1743:
1742:
1737:
1732:
1727:
1722:
1717:
1707:
1706:
1703:
1702:
1695:
1688:
1681:
1674:
1667:
1660:
1649:
1642:
1635:
1628:
1617:
1610:
1603:
1596:
1589:
1578:
1571:
1564:
1557:
1550:On Jovan Dučić
1545:
1538:
1531:
1524:
1517:
1510:
1499:
1492:
1478:
1468:
1467:
1425:external links
1414:
1412:
1405:
1399:
1396:
1392:
1391:
1386:
1381:
1376:
1371:
1366:
1361:
1356:
1354:Jovan Đorđević
1351:
1346:
1341:
1336:
1334:Stevan Hristić
1331:
1326:
1319:
1316:
1315:
1314:
1304:
1294:
1287:
1280:
1271:
1268:
1224:Božidar Sirola
1220:Petar Konjović
1192:Paul Hindemith
1154:Jules Massenet
1125:Ludwig Thuille
1100:Franz Schubert
1021:
1018:
1017:
1016:
1006:
992:
991:
981:
980:
966:
956:
953:Muha i komarac
946:
936:
926:
916:
915:
909:
906:Motivi sa sela
899:
889:
879:
873:
863:
853:
847:
833:
832:
822:
812:
805:
790:
787:
701:Sobareva metla
630:Kosovska svita
567:Muha i komarac
423:. His stay in
409:Stevan Hristić
405:Petar Konjović
403:Together with
400:
397:
337:in June 1910.
319:Theodor Kroyer
280:Bogdan Popović
276:Miloš Trivunac
261:High Gymnasium
225:
222:
189:
188:
183:
179:
178:
175:FPR Yugoslavia
169:
167:(aged 61)
161:
157:
156:
147:
136:
132:
131:
128:
120:
119:
116:
109:
108:
44:. Please help
30:
28:
21:
13:
10:
9:
6:
4:
3:
2:
1752:
1741:
1738:
1736:
1733:
1731:
1728:
1726:
1723:
1721:
1718:
1716:
1713:
1712:
1710:
1700:
1696:
1693:
1689:
1686:
1682:
1679:
1675:
1672:
1668:
1665:
1661:
1658:
1654:
1650:
1647:
1643:
1640:
1636:
1633:
1629:
1626:
1622:
1618:
1615:
1611:
1608:
1604:
1601:
1597:
1594:
1590:
1587:
1583:
1579:
1576:
1572:
1569:
1565:
1562:
1558:
1555:
1551:
1546:
1543:
1539:
1536:
1532:
1529:
1525:
1522:
1518:
1515:
1511:
1508:
1504:
1500:
1497:
1493:
1490:
1486:
1482:
1479:
1476:
1472:
1471:
1464:
1461:
1453:
1443:
1439:
1433:
1432:
1426:
1422:
1418:
1413:
1404:
1403:
1397:
1395:
1390:
1387:
1385:
1382:
1380:
1379:Branko Cvejić
1377:
1375:
1372:
1370:
1367:
1365:
1364:Nenad Barački
1362:
1360:
1357:
1355:
1352:
1350:
1349:Davorin Jenko
1347:
1345:
1342:
1340:
1337:
1335:
1332:
1330:
1327:
1325:
1322:
1321:
1317:
1312:
1308:
1305:
1302:
1298:
1295:
1292:
1288:
1285:
1281:
1278:
1274:
1273:
1269:
1267:
1265:
1260:
1258:
1253:
1251:
1246:
1243:
1241:
1237:
1233:
1229:
1225:
1221:
1217:
1216:Jakov Gotovac
1213:
1209:
1205:
1204:Slavko Osterc
1201:
1197:
1193:
1187:
1185:
1182:(music), and
1181:
1177:
1176:Jovan Ćirilov
1173:
1172:Essays on Art
1169:
1164:
1162:
1157:
1155:
1151:
1147:
1143:
1139:
1135:
1134:
1133:Eugene Onegin
1128:
1126:
1122:
1118:
1117:Harmonielehre
1114:
1109:
1105:
1101:
1095:
1093:
1087:
1085:
1081:
1075:
1071:
1069:
1065:
1059:
1057:
1053:
1049:
1044:
1041:
1037:
1035:
1031:
1027:
1019:
1014:
1010:
1007:
1004:
1000:
997:
996:
995:
989:
986:
985:
984:
983:Stage Works:
978:
974:
972:
967:
964:
960:
957:
954:
950:
947:
944:
940:
937:
934:
930:
927:
924:
921:
920:
919:
913:
910:
907:
903:
900:
897:
893:
890:
887:
883:
880:
877:
874:
871:
867:
864:
861:
857:
854:
851:
848:
845:
841:
838:
837:
836:
830:
826:
823:
820:
816:
813:
810:
806:
803:
799:
796:
795:
794:
788:
786:
784:
780:
776:
772:
771:
765:
761:
757:
753:
749:
745:
741:
737:
733:
729:
725:
721:
717:
713:
708:
706:
702:
698:
693:
690:
686:
681:
676:
674:
670:
666:
662:
657:
655:
651:
647:
643:
639:
637:
631:
627:
623:
619:
615:
611:
607:
603:
599:
595:
590:
588:
584:
580:
576:
572:
571:The Goat-herd
568:
564:
560:
556:
552:
548:
544:
540:
536:
532:
528:
524:
520:
516:
515:Vojislav Ilić
512:
508:
503:
501:
497:
496:A Field feast
493:
491:
487:
483:
479:
475:
471:
467:
462:
460:
456:
452:
448:
444:
442:
438:
433:
430:
429:Impressionism
426:
422:
418:
414:
410:
406:
398:
396:
394:
388:
386:
382:
378:
374:
370:
365:
362:
358:
354:
349:
347:
346:chamber music
343:
338:
336:
332:
328:
324:
320:
316:
312:
307:
305:
301:
297:
293:
292:Jovan Skerlić
289:
288:Pavle Popović
285:
281:
277:
273:
268:
266:
262:
258:
254:
250:
245:
243:
239:
235:
231:
223:
221:
219:
215:
211:
207:
203:
199:
195:
187:
184:
180:
176:
172:
162:
158:
154:
150:
137:
133:
126:
121:
114:
105:
94:
91:
87:
84:
80:
77:
73:
70:
66:
63: –
62:
58:
57:Find sources:
51:
47:
43:
37:
36:
35:single source
31:This article
29:
25:
20:
19:
16:
1698:
1691:
1684:
1677:
1670:
1663:
1656:
1652:
1645:
1638:
1631:
1624:
1620:
1613:
1606:
1599:
1592:
1581:
1574:
1567:
1560:
1553:
1549:
1541:
1534:
1527:
1520:
1513:
1506:
1502:
1495:
1488:
1484:
1474:
1456:
1447:
1436:Please help
1428:
1393:
1344:Isidor Bajić
1329:Petar Krstić
1310:
1306:
1300:
1296:
1290:
1283:
1276:
1261:
1254:
1247:
1244:
1239:
1212:Anton Neffat
1188:
1174:, edited by
1171:
1167:
1165:
1160:
1158:
1149:
1148:(1921), and
1141:
1131:
1129:
1116:
1112:
1107:
1096:
1088:
1076:
1072:
1060:
1055:
1047:
1045:
1042:
1038:
1023:
1012:
1008:
1002:
998:
993:
987:
982:
976:
968:
962:
958:
952:
948:
942:
938:
932:
929:Presentiment
928:
922:
917:
911:
905:
901:
895:
891:
885:
881:
875:
869:
865:
859:
855:
849:
843:
839:
834:
828:
824:
818:
814:
808:
801:
797:
792:
782:
778:
774:
767:
763:
759:
755:
751:
747:
743:
739:
735:
731:
727:
723:
719:
715:
711:
709:
705:Marko Ristić
700:
696:
694:
688:
684:
677:
672:
668:
664:
660:
658:
653:
649:
641:
633:
629:
625:
621:
617:
613:
609:
605:
601:
597:
593:
591:
586:
582:
578:
574:
570:
566:
562:
558:
554:
550:
546:
542:
538:
530:
526:
522:
519:Presentiment
518:
510:
506:
504:
499:
495:
494:
490:Matsuo Bashō
485:
481:
477:
473:
469:
465:
463:
458:
454:
450:
449:
445:
434:
402:
389:
366:
350:
339:
308:
269:
265:Isidor Bajić
246:
227:
214:musicologist
193:
192:
165:(1946-06-16)
163:16 June 1946
99:
89:
82:
75:
68:
56:
32:
15:
1720:1946 deaths
1715:1884 births
1442:introducing
1121:Rudolf Luis
943:Pir iluzija
770:Jovan Dučić
740:Zanosni čas
689:Sonata in g
687:(1944) and
648:. His work
646:Béla Bartók
531:Pir iluzija
331:Felix Mottl
1709:Categories
1483:. (1969).
1398:References
1291:Miniatures
1257:Kragujevac
1050:(1921) by
1026:musicology
781:, op. 67;
718:, op. 23,
636:Povardarie
614:Moja majka
369:folklorist
325:), piano (
182:Occupation
141:1884-10-27
102:April 2014
72:newspapers
1450:June 2024
1250:Macedonia
1178:(drama),
973:communion
610:My mother
224:Biography
218:pedagogue
42:talk page
1318:See also
1156:(1924).
1140:(1920),
1068:Politika
1009:Intimacy
971:Vidovdan
669:Intimacy
547:Triptych
399:Composer
257:Novi Sad
242:Borivoje
234:Kruševac
210:composer
206:Belgrade
202:Belgrade
186:Composer
171:Belgrade
149:Belgrade
1438:improve
1030:Smetana
933:Slutnja
724:Visions
680:chamber
632:), and
553:), and
551:Triptih
523:Slutnja
486:Hai-kai
86:scholar
1234:, and
1013:Intima
860:Kameje
856:Cameos
748:Bdenje
720:Cameos
673:Intima
606:Kameje
602:Cameos
579:opelos
482:Haikai
425:France
290:, and
249:violin
230:Dedina
88:
81:
74:
67:
59:
1423:, or
1150:Manon
1119:) by
744:Vigil
638:suite
575:Kozar
437:lieds
383:(now
361:Paris
238:piano
93:JSTOR
79:books
1194:and
1123:and
969:The
634:The
439:and
415:and
407:and
317:and
160:Died
135:Born
65:news
624:),
545:),
48:by
1711::
1427:,
1419:,
1230:,
1226:,
1222:,
1218:,
1214:,
1210:,
1206:,
1202:,
1127:.
1082:,
707:.
461:.
306:.
286:,
212:,
173:,
151:,
1655:(
1552:(
1505:(
1487:(
1463:)
1457:(
1452:)
1448:(
1434:.
1115:(
1011:(
1001:(
975:(
961:(
951:(
941:(
931:(
904:(
894:(
884:(
868:(
858:(
842:(
827:(
817:(
800:(
773:(
762:(
754:(
746:(
738:(
699:(
671:(
663:(
652:(
640:(
628:(
620:(
612:(
604:(
596:(
585:(
573:(
565:(
557:(
549:(
541:(
537:(
529:(
521:(
509:(
498:(
484:(
476:(
468:(
453:(
196:(
143:)
139:(
104:)
100:(
90:·
83:·
76:·
69:·
52:.
38:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
