Her father Jovan (Jan) Frajt, born in 1882 in Plzeň (nowadays in the Czech Republic), settled in Serbia in 1903.
Initially, Frajt's style revolved around a combination of impressionistic sound world, inspired by French composers, and her desire to study and utilise the deepest layers of folklore.
After World War II, instead of succumbing to the official demand to write music in accordance with the doctrine of Socialist Realism, Frajt turned to studying Serbian folklore.
In 1960s and 1970s Frajt studied and assimilated the latest compositional techniques of the European musical avant-garde – in particular, aleatorics, the idea of 'open-work' and various multimedia experiments.
Her discourse is characterised by its chamber qualities, lyricism and subtlety, which can be seen both in the choice of genres and performing forces, and in her compositional procedures.
Furthermore, she was fascinated with a female voice (both in solo and choral settings), and she often wrote 'female' vocal genres such as lullaby and threnody.