This dissertation examines the life and music of the Croatian composer Boris Papandopulo. The socio-political climate in which he lived is taken into account, and special attention is devoted to the duality in his compositional style. This duality is characterized by his use of both neoclassic and folk components, and derives from his studies of traditional Western European music as well as from his Croatian heritage. He is thus seen to have been a synthesizer in the best sense of the word. Croatia, a small country positioned on the outskirts of Europe, has its own distinctive identity; and its singular position gave Papandopulo's music the special quality of being both national and international at the same time. His music was heavily influenced by formal techniques, such as the twelve-tone method, yet remained highly individual. Special emphasis will be given to the piano works of this unique and relatively unknown composer.