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. This particular dance is still being performed today. Denied music or dance, the Serbs invented a silent kolo (dance) in which the syncopation of the pounding of the feet became an instantaneous musical accompaniment to the folk dancers. As their punishment for playing a musical instrument, many of these musicians were blinded by their oppressors. 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. The Serbs however were stubbornly tenacious enough to maintain an oral history through folk poems and songs recited with the accompaniment of the Gusle. 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. After the Ottoman conquest of Serbia, music was enriched with oriental influences at the expense of Serbian folk music. 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. Sung Serbian epic poetry has been an integral part of Serbian and Balkan music for centuries. Traditional folk instruments include the gajde, kaval, dajre, diple, tamburitza, gusle, tapan ( davul), sargija, ćemane ( kemenche), zurla ( zurna), and frula among others. Medieval musical instruments included horns, trumpets, lutes, psalteries, drums and cymbals. The rulers known for the musical patronage included Emperor Stefan Dušan and Despot Đurađ Branković.
During the Nemanjić dynasty era musicians played an important role at the royal court, and were known as sviralnici, glumci and praskavnici. Īside from church music, the medieval era in Serbia included traditional music, about which little is known, and court music.
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". The songs performed at the time were derived from the Octoechos (Osmoglasnik), a collection of religious songs dedicated to Jesus. Church music was performed throughout medieval Serbia by choirs or individual singers.
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