Contemporary musicological analysis of the musical languages and aesthetics of post-Soviet states has largely avoided the effect of independence, political and social integration into the EU, and the unanticipated preponderance of sonic information and exchange on composers working and living in the Baltic States. The diffusion of composers and musicians from the Baltic States in the 1990s and 2000s, the lack of a focal point of artistic contention and backlash after the collapse of the Soviet Union, as well as a social and intellectual realignment toward the EU and Western Europe have all distinctly affected Baltic nations' musical identities. This research examines the development of Estonian music over the period of twenty years, 1991-2011; initially, by comparing compositional processes, musical motives, scoring, harmony, and orchestration techniques of the post-Soviet to the Soviet eras; further, by defining aspects of the native Estonian musical identity as relevant to modern classical music and analysing its integration into concert music; next, by detailing the political effects of such integration, if any, during the Soviet period and their continued relevance since independence; the so-called exodus of Estonian composers into Scandinavia and further afield, the arrival of foreign composers; finally, the social effects of internationalism and the extent of Estonian composers' and audiences' focus on distinctly national versus international traditions within the realm of concert music.