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 Stana Đurić-Klajn (now Institute of Musicology of the Serbian Academy of Sciences and Arts, SASA). Milojevic died 16 June 1946 in Belgrade. 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 composer and member of the Serbian Academy of Sciences and Arts, Vlastimir Trajković (1947), Professor of Composition and Orchestration at the Faculty of Music, University of Arts, in Belgrade. Composer Together with Petar Konjović and Stevan Hristić, 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 (Stevan Mokranjac and Josif Marinković). During his studies in Munich, he discovered German New Romanticism and became closely involved with the music of Richard Strauss. His stay in France resulted with even stronger impressions. The influence of French Impressionism 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 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. The most prominent areas of his output are lieds and character pieces for the piano, but he also wrote choral and chamber works. 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: Before the Magnificence of Nature (Pred veličanstvom prirode), 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