Através de elementos musicais passíveis de serem comparados, isto é, por meio de elementos intertextuais, tivemos a intenção de exemplificar as referências à tópica de valsa vienense (relacionada as valsas de Joseph Lanner e Johann Strauss II), compará-las as valsas de Frédéric Chopin compostas após sua estada em Viena - em especial a Grande Valse Brillante, Op. 18 - e cotejá-las às seis Valsas Humorísticas Op. 22 de Alberto Nepomuceno. Uma peculiaridade que se revelou comum as valsas acima mencionadas é a forma musical que possuem: um formato medley, enquanto que as valsas de Chopin compostas em Varsóvia, por exemplo, apresentam forma ternária da capo. Por meio da análise realizada, mostramos semelhanças formais que há entre elas a fim de compreender a valsa enquanto tópica musical e como essa tópica se apresenta nas Valsas Humorísticas Op. 22 e constatamos que ela acontece por meio da tropificação de estilos: a tópica de valsa se justapõe ao estilo concertante, ao estilo pianístico e ao estilo pianeiro (relacionado aos pianistas populares cariocas). Tanto o formato medley, que pode ser visto como uma técnica composicional de bricolagem, quanto a justaposição dos estilos mencionados evidenciam que as Valsas Humorísticas possuem elementos progressistas para a época em que foram compostas. Além disso, mostramos as intertextualidades explícitas que Nepomuceno realiza ao citar o Danúbio Azul, de Strauss II e a Valsa do Minuto, de Chopin e elucidamos que tanto a tropificação de estilos como o uso de citações são mecanismos geradores de humor musical. Para chegarmos a essa conclusão foi necessário verificar e perceber quais são os elementos musicais que geram humor nas Valsas Humorísticas visto que elas possuem um título que direciona os ouvintes para uma possível escuta jocosa, ou seja, foi necessário verificar o que musicalmente se apresenta como humor. / Alberto Nepomuceno handles four topical styles in order to evoke humor in his Valsas Humorísticas Op. 22 for piano and orchestra: the waltz, concertante, pianistic and pianeiro (related to popular pianists from Rio de Janeiro) styles. Meaning tropification of these styles, namely, their overlap creates musical humor. By means of these intertextual elements, present research had the intent to show references related to the topical vienense waltz (associated with Johan Strauss II and Joseph Lanner\'s waltzes) and compare them to Frédéric Chopin\'s Works composed after his stay in Vienna - in particular the Grande Valse Brillante, Op. 18 - and analogize them with the six Valsas Humorísticas. Medley format revealed itself as a peculiarity in this musical form and a common ground between the mentioned above waltzes. Chopin\'s compositions, in contrast, shows da capo ternary form as an example. Present thesis based its analysis on Klein (2005) in order to comprehend intertextuality as an aesthetical phenomenon, whose relations are given by the recipient\'s perception. McKee\'s studies (2012) were also took into analysis to understand the waltz genre as a topical music. Both medley format, seen as a compositional technique of do it yourself, and the overlapping of mentioned styles show that Valsas Humorísticas had progressive elements by the time they were created. Besides, present research shows the explicit intertextualities Nepomuceno performs when citing Strauss II\'s Blue Danube and Chopin\'s Minute Waltz and elucidates that both tropification of styles and usage of citations are mechanisms to create musical humor. Current thesis takes Casablancas (2014) studies in order to comprehend, verify and describe how humor manifests itself in music and how many musical elements evoke humor on Alberto Nepomuceno\'s Valsas Humorísticas.

This master thesis is an autoethnographic study, wherein the author presents and analyzes her approach to composition practice through intertextuality. Drawing on previous research in literary and musical studies, she aims to identify and/or define the types of intertextuality that she uses in her compositional practice, and their interaction within compositions. She also investigates, in which ways different musical and literary texts can mutually influence and enhance each other, as well as how these forms of intertextuality function in specific performance settings. Finally, the author contemplates on the question how intertextual elements might mediate in translating the author’s intentions to the audience, at least from the perspective of the composer. After a quick overview of ten of Astar’s musical works, making use of intertextuality as a composition strategy, the study focuses on a detailed analysis of two pieces, Escape and The Checkered Flag Villanelle, that rely upon contrasting ways of building cross-textual relationships. The analysis utilizes, among others, the topologies found in the works by Genette, Burkholder and Kawamoto. The author also makes an attempt at extending the existing terminology by suggesting such new terms as concept borrowing, interpermeating intertextuality, imposed intertextuality, transverbal prosodization and some other. This terminology is applied in the work to describe the types of cross-textual strategies used in Astar’s classical compositions that do not appear to be covered by any of the aforementioned topologies. The work also offers a first-person perspective at a close collaboration of a composer and a poet, where the result is a variety of artistic works, all of which employ multi-layered intertextuality and an intermedial approach.

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