Photograph of an unknown ceremony involving missionaries from the Rockwall First Baptist Church in Brazil. A man, seated next to a woman in a chair, is donned with a banner across his chest reading "B. VOS SAÚDAM" ("we salute you" in Portuguese). The woman at right watches onward with a basket of flowers at her feet. Two children flank the missionaries, watching intently.

Photograph of an unknown ceremony involving missionaries from the Rockwall First Baptist Church in Brazil. A woman in a dress (center) holds a bouquet of flowers, looking to the right and standing in front of an altar with a flower vase. A man with a banner reading "B. VOS SAÚDAM" ("we salute you" in Portuguese) stands to her left; Black women also stand along with the group at far left and right. Confetti falls from the air onto a small model of a church building placed on a table with a call bell.

Recording of Marcus Bittencourt's Rabo-de-Arraia. This work was composed under the theme of "Les Maitres Sonneurs" and shares some folk traditions of Brazil. The idea of this work comes from several of the composer's memories of watching capoeira circles which acts as a martial art, dance, sport, game, and musical event. The ensemble of capoeira musicians in this work was recreated by computer algorithms.

Beginner and Advanced Afro-Cuban Ensembles, Brazilian Ensemble and Latin Jazz Lab Band concert performed at the UNT College of Music Voertman Hall.

Faculty recital performed at the UNT College of Music Kenton Hall.

Recording of Michelle Agnes Magalhaes' Peixe. This is a work for electronics that includes spoken Portuguese, piano, and percussion.

Recording of Daniel Barreiro's Tempora. This composition is a result of research on musical time that includes voice and the percussion of various objects. The voice presents excerpts of texts on musical time and narrative time written by various authors. This piece premiered during the IV Studio de Mœsica at the Instituto de Artes da UNESP in Sao Paulo, Brazil, in October 2001.

Recording of Miguel Azguime's O ar do texto opera a forma do som interior. The composer describes this as a sound poetry stage work for a speaker/actor. This piece is made of 4 sections that follow each other without interruption and have the following subtitles: "Ar do Texto" (the Air in the Text), "Formant-Melodies", "Sem Recurso" (Without Resources), and "O Som Interior" (the Inner Sound). Although there are some spoken words in Portuguese, most of the text is meaningless and was written as sound compositions.

Recording of Denise Garcia's Par Lui 2. The material in this work was made from an amateur recording of Brazilian actor, Luis Otávio Burnier, reading part of the work "Poema Sujo" by Ferreira Gullar. This recording has been transformed and manipulated to create new sounds and varied textures. The text itself is viewed as one of the most influential literary works in Brazil. This composition was played at the 8th International Acousmatic Festival in Brussels, 2001.

Beginner and Advanced Afro-Cuban ensembles, Brazilian ensemble and Latin Jazz Lab ensemble music concert performed at the UNT College of Music Voertman Hall.

Recording of Miguel Azguime's Comunicacones. The sound materials in this piece come from concrete sounds from a Lisbon port, communication satellites, and texts in more than 30 different languages, as well as synthetic and instrumental sounds. This work was commissioned by the Lisbon World Fair Expo'98 and the concert version premiered at the "Musica em Novembro" festival in Lisbon.

Senior recital presented at the UNT College of Music Kenton Hall in partial fulfillment of the Bachelor of Music (BM) in Performance degree.

Recording of alcides lanza's Voo. The lyrics of this composition are primarily in Portuguese, but the composer specifically chose to play with the source material, basing lyrics on poems which appear in NO OUVIDO DO TEMPO/NO OLVIDO DO TEMPO, a remarkable book of poetry by the Brazilian poet and composer Gil Nuno Vaz. Special acknowledgement is given to the Brazilian poet Raul de Leoni (1895-1926), since Gil Nuno Vaz integrated into his own poems some lines from an unpublished book by de Leoni, No Ouvido do Tempo. As a result, the Portuguese blends into Spanish and Italian intentionally, acting as a catalyst joining the notions of Columbus, Italian explorer, departing from Spain to explore the unknown sea; Columbus, whose writings in Spanish showed strong traces of Portuguese and Italian; and the fact that Portuguese and Spanish are the prevalent languages from Mexico to Tierra del Fuego. In addition, by looking at the text in a kaleidoscopic way, "other" words and sentences, in existing or imaginary languages could be encountered. With all these elements, the composer "tells" the story of the opening up of a new world - struggles and religion as icons on the way to modern civilization. Voo is …

Recital performed at the UNT College of Music Voertman Hall.

Recording of Sergio Rojas de Carvalmo's 5 microinfinitos. A constellation of 27 micro-songs exploring new flirtations between poetry and music. Built-in, forgotten electro-acoustic design; music free of any adjective, without any fear or melodies or even rhythmic pulsations where the eroticism of the body is expressed. Poetic language at the limits of conciseness, flirting with prose, far from any domestication of literary genres. Dialogues of contrasting cultural spaces, dialogues of dimensions and above all dialogues where reason and concepts are silent and where everything is mystery.

Recording of Eduardos Reck Miranda's The Turning of the Tide. The sounds of the piece can be divided into two main groups: continuous sounds and discrete sounds. Continuity is given by the vowel-like sounds, which were digitally synthesized using three synthesis techniques: frequency modulation, wave shaping and formant synthesis. Articulation, on the other hand, is produced by noise-like sounds generated by the violin, samples of the composer's speech, and amplitude modulation using an analogue synthesizer. The two computer programs used are CAMUS and a format Synthesizer.

Beginner and Advanced Afro-Cuban Ensembles, Brazilian Ensemble, and Latin Jazz Lab Band concert performed at the UNT College of Music Voertman Hall.

This article analyzes the bioremediation of the soil contaminated by hydrocarbons (HYCOS), the importance of biostimulation with a detergent (DEGE) or biodetergent (BIODET) and the inconsistencies generated by their application.

Advanced Afro Cuban and Brazilian ensemble concert performed at the UNT College of Music Voertman Hall.

Senior recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Bachelor of Music (BM) in Performance degree.

Senior recital presented at the UNT College of Music Lab West in partial fulfillment of the Bachelor of Music (BM) in Performance degree.

A letter from D. Jack Davis to Maria Cristina Biazus informing Biazus that the North Texas Institute for Educators on the Visual Arts would like to have art teachers from Brazil to participate in the upcoming Summer Institute. Attached are newsletters from Brazil that outline art education activities and programs that are occurring throughout the country.

The dynamics proposed by the information and communication technologies enter economic sectors and require new behaviors. Digital Agriculture is a way to adapt to the new scenario. However, the modernization movement requires that views on agricultural industries be compensated.

Senior recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Bachelor of Music (BM) in Performance degree.