In his lieder, Marinković paid closed attention to the correct diction, lilting melody, and expressive piano accompaniment with which he depicted certain desired atmosphere.

In his lieder, Marinković achieved a broad range of moods—hearty lyricism (What a sight, this world’s so bright (Ala je lep ovaj svet), Oh, How the sun shines, The stream gurgles), romanticist warmth, melodic breadth (Longing (Čežnja)), and drama (The Parting, A Shrub).

Marinković exhibits the ability of deep delving into the meaning and mood of selected lyrics, following the correct diction, with inventive, broad melodies, and an overall direct expression.

Melody represents his primary tool; although in his later works noticeable is a rather elaborated piano part and somewhat free harmonic language, within the realm of the late romanticist means of expression.

The actual selection of the kolo songs does not demonstrate the level of fastidiousness and cogitation in the scope the works’ entirety, so representative for Mokranjac, while the developing procedures are mainly restrained, but still refreshing and uplifting.

In the later kolos (Eleventh and Twelfth), Marinković achieved a higher formal conciseness, better choral texture, contrasts of solo and tutti parts, and bolder harmonic solutions.

Marinković established a piano accompanied choral genre in Serbian music (A Content river, On Good Friday, A Suffering mother (Jadna majka), Prayer, The Water mill, and Cantata to Dositej Obradović).

In 1935, Kosta Manojlović reconstructed certain movements he found in Marinković's legacy collection into the Divine Liturgy of Saint John Chrysostom (Liturgija Svetog Jovana Zlatoustog).