Vladimir Tošić composed the very first piece of integral minimalism in Serbia. He is the only Serbian composer whose postminimalist output was preceded by personally realized radical, modernistic minimalism. Therefore his output could be understood as a line of continuity that connects the practices of modernistic and postmodernistic minimalism in Serbian music. Although the Dual is one of the first pieces in which Tošić steps aside from the "rude" modernistic concept of his integral minimalism, in it he still holds on to the precomposition principle. More precisely, the principle is only modified to adjust to the demands of the new historical moment. The Dual consists of many important features of radical modernistic minimalism it has been built upon a reduced tone phonemic basis that undergoes strict repetitiveness in which only the smallest gradual changes are allowed. The piece begins with a melody-theme (in parallel octaves) built on 8 tones of Tošić's harmonic mode and introduced in a specific order (c, g, fis, e, d b, a, h). The five repet­itive segments follow in which the given tone row is treated in the mode of variation. Thanks to the specifically shaped three-dimensional repetitive models, the first three repetitive levels of the piece have a typical postminimalistic texture in which the "melody" and its repetitive "accompaniment" are shaped in different ways. Contrary to the preced­ing ones, the fourth and fifth sections are based on nonhierarchical organized layered repetitiveness and have a characteristic minimalist texture in which there is no functional layer differentiation. This piece has no explicit intertextuality that would be a firm signifier of its postmodern status. Hence, its postminimalistic, i.e. postmodernistic dimension, is realized only through its hierarchical organization of the texture which was unimaginable in the modernistic minimalism. The postminimalistic texture of the Dual, which comes from a carefully conceived "three-dimensional" structure of the chosen repetitive models is in fact the simulacra of the most typical texture of tonal music ("melody" "accompaniment"). What Tošić produces with a laminar organization of the repetitive model (and in the meantime also of the music flow) is multiplicity and a pseudo functional difference of the surfaces that in a typical postmodernistic way simulate the "depth" of the tonal premodern musical tradition. Of course, there is no real music reference and a referential level of the piece moves in to the allusion space - of simulated homologies. This piece actually produces a "referential illusion", thus undoubtedly being a simulation art piece. By the means of rigid pre-composition (as the mutual feature of integral minimalism and the production of "pure" simulacra) in the Dual, we have a mimicry of the author's modernistic modus menti, its mutation in the postmodern age. As such, the Dual occupies the "zero" level of postmodern minimalism in a field which is governed by a strong inter­ference of late modernism and postmodernism.