Research on the phenomenon of self-representation in this paper is based on the consideration of the potentials, needs and methods of self-representation and presentation in music text and text about music, within a broader culturological, social and political contextualization of the work of classical Serbian composer Stevan Stojanović Mokranjac (whose 150th birth anniversary will be commemorated this year). In this connection, the issues of music-discursive formation of identity (personal, collective and national) refer, on one side, to the ideological cultural context of the Kingdom of Serbia at the turn of the 19th century to the 20th and, on the other, to the cultural framework (as a multidiscursive notion) and socio-political context of Serbia at the turn of the 20th century to the 21st. In other words, the phenomenon of self-representation and different music forms of its manifestation (especially those concerning the ideologies and processes of national identification or, in other words, proceeding from personal, collective and national constitution up to deconstruction agents) provides a basis for the comparison of two relatively distant moments in the history of Serbian music (romanticism and post-modernism) from the viewpoint of the reception of Mokranjac's work (including different aims, tactics and strategies of self-representation, categories of collective self-understanding and self-identification, the Other as the source of self-reception, as well as social motives of self-respect, self-justification, self-elevation, self-confirmation...).