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 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 “Serbian Literary Herald,” from 1908–41. He was also a music critic for “Politika,” the most influential daily paper in Serbia, from 1921–41. 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. 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 art and primacy of aesthetic values were never questioned in his writings. 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 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 Roksanda Pejović, Slobodan Turlakov, 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. In Milojević's writings, noticeable is a friction between tradition and innovation, most apparent