Miloje Milojević had a sister Vladislava, and brothers Vojislav, Vladislav, Branko, Milorad, and Borivoje, a renowned biologist.

Miloje Milojević began private violin lessons at the age of five, with Karlo Mertl, an orchestra member of the National Theatre in Belgrade.

Milojević matriculated at the Faculty of Philosophy, University of Belgrade, where he studied for three semesters (fall 1904 until spring 1906): Germanics (Miloš Trivunac), comparative literature (Bogdan Popović), Serbian language and literature (Aleksandar Belić, Pavle Popović, and Jovan Skerlić), and philosophy (Branislav Petronijević).

At the same time, Milojević attended Munich Music Academy, studying composition (with Friedrich Klose), piano (Richard Meier-Gschray), and conducting with score reading (Felix Mottl).

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).

Thus, the last stage of his creative work is characterized by utilizing folk melodies amidst the stylistic blend of Neo-romanticist and Impressionist elements.

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 The Autumn Elegy (Jesenja elegija), The Eagle song (Pesma orla), Japan, The Nymph, and The Bells (Zvona).

About fifteen Lieder composed in France in 1917 after the lyrics by French poets were influenced by Impressionism, the best known among them being Berceuse triste (Tužna uspavanka).

From his later period, important ones include The Three songs for high voice (Tri pesme za visoki glas), the most remarkable being “A very hot day” from 1924 (“Vrlo topli dan”), composed upon German lyrics, and Haikai (Hai-kai), after the poetry of Japanese poet Matsuo Bashō, from 1942.

A Field feast (Gozba na livadi), “a lyrical symphony for voice and orchestra” (1939) represents the first example of symphonic Lied in Serbian music.

The most significant include: How green is the long field (Dugo se polje zeleni) (1909), a miniature for mixed choir, after the lyrics of Vojislav Ilić; dramatic ballad Presentiment (Slutnja) (1912), marked by Neo-romanticist chromaticism and polyphony, and considered among masterpieces of Serbian choral literature; and cycle The Feast of illusions (Pir iluzija) (1924), after poetry of Miroslav Krleža (Evening decorations (Večernje dekoracije), Triptych (Triptih), and Dark gloomy afternoon (Crno sumorno popodne)), a work of modern expression and high technical demands regarding choral texture.

Milojević's most popular choral composition, The Fly and a Mosquito (Muha i komarac) (1930), is a humorous scherzando piece written upon folk text and utilizing tone painting.

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.

One of Milojević's most distinct works belongs to stage music — Le balai du valet (Sobareva metla) (1923), a ballett grotesque upon a surrealist text by Marko Ristić.

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.

His dissertation, defended at the Charles University in Prague and entitled Smetana’s harmonic style addressed issues of systematic musicology (Belgrade: Grafički Institut “Narodna misao,” A.

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.

Another voluminous material in manuscript form, A History of Music by Božidar Joksimović, completed in 1926 (400 pages), still unpublished is kept at the Archives of the SASA Institute of Musicology in Belgrade.

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.

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.

Milojević's treatise The Artistic ideology of Stevan St. Mokranjac, published in 1938 in the “Serbian Literary Herald” is included in the anthology of Serbian music essayism entitled Essays on Art, edited by Jovan Ćirilov (drama), Stana Đurić-Klajn (music), and Lazar Trifunović (visual arts), published in 1966 (pp. 251–262).

Between 21 April 1926 and 15 March 1940, “Collegium musicum” held sixty-seven concerts and performed 417 compositions ranging from Baroque and Rococo pieces to the works of Paul Hindemith and Igor Stravinsky.

Beside Milojević's compositions, “Collegium musicum” published a number of works by Serbian, Slovenian, and Croatian composers (chronologically): Predrag Milošević, Slavko Osterc, Lucijan Marija Škerjanc, Anton Neffat, Jakov Gotovac, Petar Konjović, Božidar Sirola, Milenko Živković, Bogomir-Bogo Leskovac, and Vojislav Vučković.

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, Miloje Milojević, composer and music writer, Belgrade: SASA, 1954, 177).

His legacy, classified and catalogued is kept in the family archives of Milojević's grandson, academician Vlastimir Trajković, composer and Professor of Composition and Orchestration at the Faculty of Music in Belgrade.