The paper presents the circumstances in which musicological medievalism
emerged in Serbia after the Second World War as a separate discipline within
the research projects of the newly founded Institute of Musicology of the
Serbian Academy of Sciences. It focuses on the contributions of three first
musicologists medievalists: Milos Velimirovic, Stojan Lazarevic and
Dimitrije Stefanovic. It outlines the conditions under which these
researchers adopted the methodological principles of the Western
musicological school - Monumenta Musicae Byzantinae - which were current at
the time but soon became outdated. In light of the disagreements among
Western and Greek scholars regarding the approach to the interpretation of
the development of neumatic notation immediately before and after the fall
of Byzantium, the paper also shows the personal scholarly credo and
interests of certain Serbian researchers, as well as their (un)willingness
to adopt and even present new knowledge and trends to the wider academic
community.