Music of Serbia represents the musical heritage of Serbia, both historical and modern. It has a variety of traditional music styles, which are part of the wider Balkan musical tradition, with its own distinctive sound and characteristics.
Church music was performed throughout medieval Serbia by choirs or individual singers. The songs performed at the time were derived from the Octoechos (Osmoglasnik), a collection of religious songs dedicated to Jesus. Composers from this era include nun Jefimija, monks Kir Stefan the Serb, Isaiah the Serb, and Nikola the Serb, who together belong to the "Serbo-Byzantine school".
Aside from church music, the medieval era in Serbia included traditional music, about which little is known, and court music. During the Nemanjiàdynasty era musicians played an important role at the royal court, and were known as sviralnici, glumci and praskavnici. The rulers known for the musical patronage included Emperor Stefan Duà ¡an and Despot ÃÂuraàBrankoviÃÂ. Medieval musical instruments included horns, trumpets, lutes, psalteries, drums and cymbals. Traditional folk instruments include the gajde, kaval, dajre, diple, tamburitza, gusle, tapan (davul), à ¡argija, ÃÂemane (kemenche), zurla (zurna), and frula among others.
Sung Serbian epic poetry has been an integral part of Serbian and Balkan music for centuries. In the highlands of Serbia and Montenegro these long poems are typically accompanied on a one-string fiddle called the gusle, and concern themselves with themes from history and mythology. After the Ottoman conquest of Serbia, music was enriched with oriental influences at the expense of Serbian folk music. During Ottoman rule, Serbian faith and folk music went underground so to speak since the people were forbidden to own their property, to learn to write and read and were also denied the use of musical instruments. The Serbs however were stubbornly tenacious enough to maintain an oral history through folk poems and songs recited with the accompaniment of the Gusle. These brave defenders of Serbian art and culture in these arduous and treacherous times were the peasants who played the Gusle, a one-stringed instrument in the shape of a lute. As their punishment for playing a musical instrument, many of these musicians were blinded by their oppressors. Denied music or dance, the Serbs invented a silent kolo in which the syncopation of the pounding of the feet became an instantaneous musical accompaniment to the folk dancers. This particular dance is still being performed today. The German poet Goethe so admired Serbian poetry and folklore that he learned to speak Slavonic-Serbian, the common language then spoken by Slavs in the Balkans and northern regions of the Austrian Empire. Goethe and Grimm's works were also the major inspiration in encouraging Brahms, Carl Loewe, Tor Aulin, Anton Dvorak, Leos Janacek, Josef Suk, Peter Tchaikovsky and Josef Maria Wolfram (1789âÂÂ1839) to create compositions based on Serbian folk poetry and literature. Brahms' famous lullaby is derived from a Serbian folk poem. When the Jews fled Spain the Serbs provided a hospitable environment in which they could resettle and prosper, particularly in Sarajevo in Bosnia and Herzegovina and Serbia. The oldest Jewish Choir in the modern world is located in Belgrade. The formation of the PanÃÂevo Church Choral Society in 1838 and the Belgrade Choral Society in 1853 resulted in each becoming centers for nurturing young talent. The first music schools were founded through the efforts of these choral societies.
From the Habsburg rule, Serbia was enriched by Western music.
Composer and musicologist Stevan StojanoviÃÂ Mokranjac is considered one of the most important founders of modern Serbian music. Born in 1856, Mokranjac taught music, collected Serbian traditional songs and did the first scholarly research on Serbian music. He was also the director of the first Serbian music school and one of the founders of the Union of Singing Societies. His most famous works are the Song Wreaths, also known as Garlands.
During the 19th and 20th centuries numerous bands, both military and civilian, contributed to the development of music culture in Belgrade and other Serbian cities and towns. Prior to Mokranjac's era, Serbia's representatives of the Romantic period were world-renowned violinist Dragomir KranÃÂeviÃÂ, pianist Sidonija IliÃÂ, pianist and composer Jovanka StojkoviÃÂ and opera singer Sofija Sedmakov who achieved success performing in opera houses of Germany in the 1890s. For example, the promenade concert tradition was first established by The Serbian Prince Band founded in 1831, and its first conductor was Joseph Shlezinger, who composed music for the band based on traditional Serbian songs. This was a period when the first choral societies, then mostly sung in German and Italian language, were being organized. Later, the first Serbian language works for choirs were written by Kornelije StankoviÃÂ.
The Serbian composers Petar KonjoviÃÂ, Stevan HristiÃÂ and Miloje MilojeviÃÂ, all born in the 1880s, were the most eminent composers of their generation. They maintained the national expression and modernized romanticism in the direction of impressionism.
The best-known composers born around 1910 studied in Europe, mostly in Prague. Ljubica MariÃÂ, Stanojlo RajiÃÂiÃÂ, Milan RistiÃÂ took influence from Schoenberg, Hindemith and Haba, rejecting the "conservative" work of prior Serbian composers, seeing it as outdated and the wish for national expression was outside their interest.
Other famous classical Serbian composers include Isidor BajiÃÂ, Stanislav BiniÃÂki and Josif MarinkoviÃÂ.
Several notable composers used motifs from Serbian folk music and composed works inspired by Serbian history or culture, such as: Johannes Brahms, Franz Liszt, Arthur Rubinstein, AntonÃÂn Dvoà Âák, Pyotr Ilyich Tchaikovsky, Nikolai Rimsky-Korsakov, Franz Schubert, Hans Huber and others. In 1788, just before the start of the HabsburgâÂÂOttoman War, a classical period composer Wolfgang Amadeus Mozart composed the La Bataille K. 535 (also known as âÂÂDie Belagerung Belgradsâ â âÂÂThe Siege of BelgradeâÂÂ), which was most likely inspired by previous sieges of Belgrade, while some scholars state that the composition was used to support the war effort. Thanks to Miloà ¡ ObrenoviÃÂ's good contacts during his stay in Vienna, Johann Strauss II composed the Serben-Quadrille intended for Serbian balls. During the SerbianâÂÂTurkish Wars, Pyotr Ilyich Tchaikovsky composed the Marche slave, which was based on several Serbian folk songs. Nikolai Rimsky-Korsakov used some Serbian folk tunes to compose the Fantasy on Serbian Themes (1867).
The ethno genre encompasses both vocal and non-vocal (instrumental) music. Instruments include bagpipes, flutes, horns, trumpets, lutes, psalteries, drums and cymbals such as: Frula (woodwind), Diple (dvojanka, woodwind), Gajde (bagpipe), Zurna (woodwind), Duduk (woodwind), Tambura (lute), Tamburitza (lute), Gusle (lute), Kaval (à ¡upeljka, lute), Davul (tapan, goÃÂ, drum), Bouzouki (à ¡argija, lute), Tarambuke (drum). Balkanika, Balkanopolis, Dvig, Slobodan Trkulja, Belo Platno, Teodulija, Kulin Ban are known Serbian musical groups that use traditional Balkan musical instruments and perform traditional songs and songs based on traditional music elements.
The Serbian folk music is both rural (izvorna muzika) and urban (starogradska muzika) and includes a two-beat dance called kolo, which is a circle dance with almost no movement above the waist, accompanied by instrumental music made most often with an accordion, but also with other instruments: frula (traditional kind of a recorder), tamburica, or accordion. The Kolos usually last for about 5âÂÂ13 minutes. Modern accordionists include Mirko Kodiàand Ljubià ¡a PavkoviÃÂ. Some kolos are similar to the Hungarian csárdás in that they are slow at the onset and gradually increase their speed until reaching a climax towards the end.
Famous performers of Serbian folk music are Predrag GojkoviàCune, Predrag à ½ivkoviàTozovac, Miroslav IliÃÂ, Lepa LukiÃÂ, Vasilija RadojÃÂiÃÂ, à  aban BajramoviÃÂ, Stanià ¡a Stoà ¡iÃÂ, Toma Zdravkoviàand others. Yugoslav singer, actress and writer, Olivera Katarina, has performed music of various genres, varying from Serbian traditional to pop music, and in numerous languages. She held 72 consecutive concerts in Paris Olympia.
During the 70s Serbian folk music started to use elements from oriental music, distancing from the original sound, style that is titled novokomponovana muzika ("newly composed music"). Soon many neo-folk singers emerged: à  aban à  auliÃÂ, Jaà ¡ar Ahmedovski, Mitar MiriÃÂ, Nada TopÃÂagiÃÂ, à  eki TurkoviÃÂ, IpÃÂe Ahmedovski, Ljuba AliÃÂiÃÂ, Zorica Brunclik, Marinko Rokviàand others. Serbian folk scene was not homogeneous nor uniform. On one hand, following Western models, Vesna Zmijanac was creating a star-image, being sex-symbol, and gay icon as well. On the other hand, singers like Vera MatoviÃÂ, for example, have created folk subgenre, sort of rural folk, singing about works in field, domestic animals and themes from Serbian village. Louis was combining Serbian folk music with jazz. Their albums were sponsored and songs were broadcast on the Radio Television of Serbia, which led to domination of this genre.
Brass bands, known as trubaÃÂi (, "the trumpeters") are extremely popular, especially in Central and Southern Serbia where Balkan Brass Band originated. The trumpet was initially used as a military instrument to wake and gather soldiers and announce battles during First Serbian Uprising in the 19th century, but later took on the role of entertainment during downtime, as soldiers used it to transpose popular folk songs. When the war ended and the soldiers returned to the rural life, the music entered civilian life and eventually became a music style, accompanying special occasions such as slavas, baptisms, harvests, births and funerals. In 1831 the first official military band was formed by Prince Miloà ¡ ObrenoviÃÂ. Roma people have also adopted the tradition and enhanced the music, and today most of the best performers are Roma. The best known Serbian Brass musicians are Fejat SejdiÃÂ, and Boban Markoviàand are also the biggest names in the world of modern brass band bandleaders. GuÃÂa trumpet festival is one of the most popular and biggest music festivals in Serbia is a five-day annual festival with 300 000 visitors.
Various sources suggest that pop music existed in Serbia before the Second World War, including the claims of French entertainer Josephine Baker, who stated that she encountered gramophone records of this style of music during her trip to Serbia. Pop music grew in popularity during the following decades, especially during the late 1950s and 1960s with performers of schlager, such as Lola NovakoviÃÂ, ÃÂorÃÂe Marjanoviàand Duà ¡an Jakà ¡iÃÂ. Some of the best known songs from this era include "Zvià ¾duk u osam" by Marjanoviàand "Devojko mala", which was performed by actor Vlastimir ÃÂuza Stojiljkoviàin the popular movie Ljubav i moda (1960). Despite the fact that pop partially lost its popularity in Serbia to rock music during the 1970s and 1980s, it continued to stay relevant with disco-influenced artists such as Zdravko ÃÂoliÃÂ, who is recognized as one of the most prominent performers from the entire Yugoslavia. The 1980s also saw popularity of new wave music with acts like Zana and Bebi Dol. During the following decades however, pop music was significantly overshadowed by pop-folk. The 1990s pop was also marked by the influence of Europop with groups such as Tap 011 and K2.
Some of the best-known Serbian pop singers who have gained prominence in the 2000s are Vlado Georgiev, Marija à  erifoviÃÂ, à ½eljko JoksimoviÃÂ, Aleksandra RadoviÃÂ, Tijana DapÃÂeviÃÂ, Jelena Tomaà ¡eviÃÂ, Nataà ¡a Bekvalac, Emina JahoviÃÂ, Ana Nikoliàand Saà ¡a KovaÃÂeviÃÂ. à  erifoviàis also noted for winning the 2007 Eurovision Song Contest with Molitva, making her the only Serbian Eurovision winner.
Most prominent pop artists from the 2010s include: Sara Jo, Nikolija, Edita AradinoviÃÂ, Teodora Dà ¾ehveroviÃÂ, Anastasija Raà ¾natoviÃÂ, Elena KitiÃÂ, Angellina, Breskvica and Hurricane (Serbian band).
As a member of the Non-Aligned Movement, Socialist Federal Republic of Yugoslavia, of which Serbia was a part, was far more open to western influences compared to the other socialist states. The western-influenced pop and rock music was socially accepted, the Yugoslav rock scene was well developed and covered in the media, which included numerous magazines, radio and TV shows. Following the breakup of Yugoslavia due to civil war, its rock scene also ceased to exist, but saw moderate revival in the 2000s. The most notable Serbian rock acts are Bajaga i Instruktori, ÃÂorÃÂe Balaà ¡eviÃÂ, Disciplina KiÃÂme, Ekatarina Velika, ElektriÃÂni Orgazam, Galija, Idoli, Kerber, Korni Grupa, Laboratorija Zvuka, Partibrejkers, Pekinà ¡ka Patka, Piloti, Pop Maà ¡ina, Rambo Amadeus, Riblja ÃÂorba, Smak, à  arlo Akrobata, YU Grupa, Van Gogh, and others.
Popular folk music, or simply pop-folk, gained in popularity during the 1980s when elements of Serbian folk music were combined with rock and pop music, as well as with elements of folk music from other Balkan cultures. During this decade two of the arguably biggest performers were Lepa Brena, who has sold over 40 million records and is recognized as one of the greatest symbols of Yugoslavia, and Vesna Zmijanac, who was noted as the sex symbol and fashion icon of the 1980s. In the following decade, pop-folk only grew in popularity as a result of the regime of Slobodan Miloà ¡eviÃÂ, Yugoslav wars, inflation and political isolation. Because of it, pop-folk gained a bad reputation, becoming colloquially known as "turbo-folk", a term that was coined by musician Rambo Amadeus because of the influence electronic dance music had on this crossover genre during the 1990s. It was during this period when some of the best known names in pop-folk music, and Serbian commercial music in general, emerged, including Dragana MirkoviÃÂ, Stoja, Dragan Kojic Keba, Ceca, Aca Lukas and Jelena Karleuà ¡a.
Even after the downfall of Miloà ¡eviÃÂ, pop-folk continued to stay popular. In the 2000s Serbian record label Grand Production gathered most of the country's pop-folk performers, such as Indira RadiÃÂ, Saà ¡a MatiÃÂ, Seka AleksiÃÂ, ÃÂani and Dara Bubamara. Their televised singing contest, called Zvezde Granda, also brought a new generation of singers, which includes Tanja SaviÃÂ, Milica TodoroviÃÂ, Rada ManojloviÃÂ, Milan StankoviÃÂ, Milica PavloviÃÂ, Aleksandra Prijoviàand Tea TairoviÃÂ.
Jazz in Serbia appears in the 1920s when Markus Blam formed first jazz orchestra Studentski Micky Jazz. Jazz music was played mostly in salons and clubs, but it is also known that jazz orchestras toured in spas over Serbia. This style of music has been present on the radio as well as in specialized magazines. Radio Belgrade started to work in 1929, every night after 22:30h Radio Jazz Orchestra played popular songs. First jazz society in Serbia was set up in 1953, but to the development of jazz the most contributed hosting famous musicians, among whom was Louis Armstrong in 1959 and 1960. The first Serbian musicians to rise to international fame were Mladen Guteà ¡a who worked for famous musicians such as Lee Konitz, Benny Goodman and others and Duà ¡ko GojkoviÃÂ. These two entered The 1956 Encyclopedia Yearbook of Jazz of Leonard Feather. Other prominent names of Serbian jazz include Bora Rokoviàwho composed jazz suite The Human Piano, Mihailo à ½ivanoviÃÂ, Branislav KovaÃÂev, Branko PejakoviÃÂ, Milan LuliÃÂ, Boris JojiÃÂ, Jovan Mikoviàand others. Among the most popular singers of jazz and blues in Serbia was à  aban Bajramoviàknown as King of Romani music, who was included in the Time magazines list of top 10 blues singers in the world. Vladan Mijatovic (Jazz pianist) is the young ambassador of the Serbian Jazz music in North America.
Serbian hip hop emerged in the early 80s among the b-boy crews. The first Serbian Hip Hop record release was the Degout EP by The Master Scratch Band, which was released by Jugoton in 1984. However, Serbian hip-hop scene wasn't developed until the late 90s when hip-hop groups started to break out from the underground. Best known rappers and hip-hop collectives include Gru, Sunshine, Bad Copy, Beogradski sindikat and MarÃÂelo. Artists such as Elitni Odredi, Rasta and Coby reached mainstream success by switching to more commercial sound and appealing to the wider audience. Some of the more prominent female performers include Mimi Mercedez and Sajsi MC. Bassivity and later Bassivity Digital have been the biggest regional hip-hop recording labels.
In a review of Konstrakta's song "", Petar PopoviÃÂ considered her a performer that "is rising above the existing genres and offering a different universe". Her musical work earned her the title of the " Person of the Year".
Exit is a summer music festival which is held at the Petrovaradin Fortress in the city of Novi Sad, officially proclaimed as the "Best Major European Festival" at the EU Festival Awards. Other festivals include Belgrade Beer Fest in Belgrade, Gitarijada in ZajeÃÂar, Nià ¡ville in Nià ¡ and GuÃÂa Trumpet Festival in GuÃÂa.
In the town of GuÃÂa, near the city of ÃÂaÃÂak is an annually held brass band festival called GuÃÂa trumpet festival in the DragaÃÂevo region of western Serbia with 600,000 visitors per year. Other popular festivals include Rock festivals Belgrade Beer Fest and Gitarijada, and Jazz festival Nià ¡ville.
Serbia debuted at Eurovision as an independent country in , being represented by Marija à  erifoviàwith the song "", winning on its first ever appearance. Other notable results include a 3rd place in , being represented by à ½eljko Joksimoviàwith the song "" and 5th in , being represented by Konstrakta with the song "". Luke Black represented Serbia with the song "Samo mi se spava" in 2023, after that he became one of the most productive artists among other Eurovision contestants this year releasing an album "Chainsaws in Paradise" in 2024.