Alexander Tcherepnin, a prominent Russian composer living in Paris for most of his life, left an indelible mark on music of the 20th century, reflecting a journey through various musical genres while maintaining an evolving yet internally consistent compositional style. This dissertation explores Tcherepnin's Op. 71, Seven Songs on Chinese Poems, employing an interdisciplinary approach that combines historical analysis with a detailed examination of its musical complexities. Focussing on the historical context illuminates how a new generation of Russian emigré composers navigated the challenges of their living circumstances while embracing the ideology of Eurasia in their musical compositions. Simultaneously, I offer musical analyses that reveal the ways in which Tcherepnin weaves musical folkloric elements into distinctive musical textures, demonstrating his profound appreciation for and insightful understanding of Chinese poetry. Composed in the aftermath of World War II and premiered at the 1946 Prague Spring Festival, the Op. 71 song cycle exemplifies Tcherepnin's pioneering exploration of vocal expressions in Chinese music, reflecting an innovative synthesis of Chinese musical elements acquired during his 1934–37 stay in China. For Tcherepnin, musical folklore transcends mere musical vocabulary; for his compositional approach actually shapes a unique Eurasian musical narrative as a musical response and intervention. Tcherepnin's recognition today remains limited despite his significant contributions, particularly in the vocal genre. The research goals of this dissertation aim to rectify this oversight by showcasing Tcherepnin's innovative embrace of folk idioms, thus enhancing our understanding of his dynamic life and legitimate artistic legacy.