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.

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to the Brazilian poet Raul de Leoni (1895-1926), since Gil Nuno Vaz integrated into his own poems some lines from an unpublished book by de Leoni, No Ouvido do Tempo.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 …