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Serbian cultural diplomacy at the Eurovision Song Contest includes both the presentation of elements of the Serbian musical idiom and the effective use of dominant trends in European popular music. The aim of this article is to attempt to define the characteristic elements of the musical content of three Serbian songs in the Eurovision editions of the twenty-first century, such as minor mode and Aeolian mode, to indicate different aspects of the analysis of their lyrics, to clarify the peculiarities of visual identity in the performance on the Eurovision stage and to determine the role of these elements in the construction of the identity of the Serbian Eurovision song at the beginning of the twenty-first century. [ABSTRACT FROM AUTHOR]