The influence of French Impressionism was decisive in Milojević's stylistic development. While in Prague, working on his dissertation, he made contacts with Czech avant-garde composers. In certain works, Milojević turned to expressionism. Throughout his life, though, he preserved his affinity toward the national style—toward folklore as a foundation of art music. Thus, the last stage of his creative work is characterized by utilizing folk melodies amidst the stylistic blend of Neo-romanticist and Impressionist elements. Miloje Milojević is predominantly a lyricist and a master of small forms. Two main areas of his work belong to the Lied and piano character piece, but he also significantly contributed to choral and chamber genres. In his Lied, Milojević used Serbian, Croat, French, German, and Japanese poetry. His interpretation of the lyrics was realized by supple melodies and rich harmonic palette of the piano part. 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 most well known among them "Berceuse triste" ("Tužna uspavanka"). From his later period, significant are "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. These works merge impressionistic and expressionistic elements. "A Field feast" ("Gozba na livadi"), “a lyrical symphony for voice and orchestra” (1939) represents the first example of symphonic Lied in Serbian music.