Romanian musicology is currently attempting to redefine itself and reshape its tools and ideas. The biggest obstacle is that writings from the communist era have produced a mentality that is difficult to change among musicians and music researchers who continue to use the same old textbooks and music histories. School and university libraries are still full of titles that belonged to either the socialist realist Soviet musicology of the 1950s and 1960s or the nationalistic “protochronist” spirit that shaped Romanian culture, especially after 1970. This chapter is concerned with the nationalist discourse in post-World War II Romanian musicology. Centered on autochthonous “spirituality” and the “Romanian ethos,” Sandu-Dediu examines a number of case studies to observe how avant-garde composers, i.e., those who have looked to the West, have adapted to circumvent censorship and conceal their own convictions.