During the second half of the 19th century, Rio de Janeiro’s public life became the setting for spontaneous gatherings by a varied assortment of amateur musicians. After attracting professional musicians from Rio’s popular entertainment circuit, these meetings evolved into creative musical hubs during which songs of the day were instrumentally re-styled. Commonly known as ‘Choro’ or ‘Chorinho’ (Port. ‘cry’), these music practices were infused with melodic elements from classical chamber music as well as stylistic influence from popular dance music. One significant development was the introduction of compound melodies, single-note structures that elicit the impression of being multi-melodic. Influenced by Afro-Brazilian accompanists, compound melodies became infused with syncopated phrasing elements and evolved into one of Choro’s most emblematic traits. This thesis focuses on factors and processes that created Choro’s syncopated compound melodies, identifying and explaining their organizational transformation during Choro’s stylistic hybridization processes.