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This paper aims to present the whole range of different forms of reception of American minimalist composition techniques in the Serbian music in last quarter of the 20th century. Author 's special attention is focused on the fact that the influence of American minimalism (and its techniques) on the Serbian 'new music' in this period was 'divided' into two branches - one group of the composers strictly followed the achievements of early American (modernist) minimalism, while the other composers created their individual responses to the challenges of American post-minimalism. Also, this paper points to the fact that, unlike the American minimalist genealogy, in which there was a historical continuity connecting the 'parent' modernist minimalism with post-minimalism, works of modernist and postmodernist minimalism appeared in the Serbian music of late 20th century almost simultaneously and independently.

The reception of minimalist composition techniques in Serbian music of the late 20th century