<p>Chinese art songs (particularly those representative works from 1919 to 1949), as an early crystallization of Chinese and Western multicultural integration, possess both national poetic elements and modern musical forms. However, in the process of global cross-cultural dissemination, due to the detachment from their original historical context and differences between Chinese and Western aesthetics, their deep cultural symbols and musical imagery often face superficial misinterpretation. Meanwhile, the communicating subjects have long been constrained by systemic limitations and weak discourse power. To break through the traditional dualistic model of unidirectional output, this paper introduces historical hermeneutics, contextualized musical morphology analysis, and the field theory of music sociology to construct a three-dimensional micro-communication model of “translation-performance-reception” centered on cultural reconstruction. The research indicates that cross-cultural dissemination requires achieving cross-contextual auditory counterpoint of symbols and musical motifs at the textual level; conducting multi-modal stage aesthetic reshaping and historical dialogue at the performance level; and reconstructing an equitable cross-cultural musical ecological field at the reception level. On this basis, this paper proposes practical strategies such as building a “commensurable” repertoire with multicultural genes, utilizing digital humanities to empower the visualization of musical forms, and promoting multi-subject collaboration to achieve a breakthrough in international discourse power. The cultural reconstruction discussed in this paper is not merely an innovative interpretation of the works, but rather a crucial approach to promoting the sustainable development of Chinese art songs in the international music field.</p>