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.

Ensemble concert presented at the UNT College of Music Concert Hall.

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

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.

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.