Indiana University-Purdue University Indianapolis (IUPUI) / Systems Engineering is catching pace in many segments of product manufacturing industries. Model-Based Systems Engineering (MBSE) is the formalized application of modeling to perform systems engineering activities. In order to effectively utilize the complete potential of MBSE, a methodology consisting of appropriate processes, methods and tools is a key necessity. In the last decade, several MBSE projects have been implemented in industries varying from aerospace and defense to automotive, healthcare and transportation. The Systems Modeling Language (SysML) standard has been a key enabler of these projects at many companies. Although SysML is capable of providing a rich representation of any system through various viewpoints, the journey towards adopting SysML to realize the true potential of MBSE has been a challenge. Among all, one of the common roadblocks faced by systems engineers across industries has been the software engineering-based nature of SysML which leads to difficulties in grasping the modeling concepts for people that do not possess a software engineering background. As a consequence, developing a system (or a system of systems) architecture model using SysML has been a challenging task for many engineers even after a decade of its inception and multiple successive iterations of the language specification. Being a modeling language, SysML is method-agnostic, but its associated limitations outweigh the advantages. ARCADIA (Architecture Analysis and Design Integrated Approach) is a systems and software architecture engineering method based on architecture-centric and model-based engineering activities. If applied properly, ARCADIA allows for a very effective way to model the architecture of multi-domain systems, and overcome many of the limitations faced in traditional SysML implementation. This thesis evaluates the architecture development capabilities of ARCADIA/Capella versus SysML following the Object-Oriented Systems Engineering Method (OOSEM). The study focuses on the key equivalences and differences between the two MBSE solutions from a model development perspective and provides several criteria to evaluate their effectiveness for architecture development using a conceptual case of Adaptive Cruise Control (ACC). The evaluation is based on three perspectives namely, architecture quality, ability to support key process deliverables, and the overall methodology. Towards this end, an industry-wide survey of MBSE practitioners and thought leaders was conducted to identify several concerns in using models but also to validate the results of the study. The case study demonstrates how the ARCADIA/Capella approach addresses several challenges that are currently faced in SysML implementation. From a process point of view, ARCADIA/Capella and SysML equally support the provision of the key deliverable artifacts required in the systems engineering process. However, the candidate architectures developed using the two approaches show a considerable difference in various aspects such as the mapping of the form to function, creating functional architectures, etc. The ARCADIA/Capella approach allows to develop a ‘good’ system architecture representation efficiently and intuitively. The study also provides answers to several useful criteria pertaining to the overall candidate methodologies while serving as a practitioner’s reference in selecting the most suitable approach.

L’encyclopédie en neuf livres de Martianus Capella, vraisemblablement composée au début du Ve s. après J.-C., se situe à la transition entre les conceptions antiques et médiévales de la « formation libérale ». Sept sciences, dons de Mercure à Philologie, exposent leur discipline devant les dieux, et forment un programme d’ascension de l’âme vers le monde divin et rationnel. En promettant un exposé conforme au statut de science (disciplina) qu’elle partage avec ses six compagnes, Rhétorique propose de dépasser les débats dont elle fait l’objet : son enseignement veut construire un art général de l’argumentation persuasive. Notre étude définit la place du livre 5 dans l’œuvre de Martianus et dans la tradition rhétorique antique. Contrairement aux traités des rhéteurs latins tardifs qui nous sont parvenus, le traité du livre 5 adopte (et adapte) les orientations des derniers ouvrages rhétoriques de Cicéron (le De oratore notamment) : la théorie est conçue pour répondre aussi bien aux questions « particulières », domaine des orateurs, qu’aux questions « générales » et philosophiques. Cette conception de la rhétorique n’est pas nouvelle : elle s’appuie sur des traditions philosophiques d’enseignement de la rhétorique, notamment développées dans des cadres péripatéticiens et académiciens. Le traité de Martianus est toutefois le seul témoin tardif qui reprenne ces perspectives avancées, et cherche à les organiser sous forme systématique. Science de la parole persuasive, la rhétorique occupe une place essentielle dans la mise en œuvre du projet de Martianus, et constitue une étape importante avant le principe plus élevé représenté par l’harmonie. / Martianus Capella’s encyclopedic work, probably composed in the early 5th century A.D., forms an original transition between Ancient and Medieval conceptions of "liberal education". As wedding gifts given by Mercury to Philology, seven Sciences present their branch of knowledge in a divine assembly : this scientific programme aims at the ascension of the soul towards the divine and rational world. Rhetoric answers (and goes beyond) the traditional critics directed against oratory. She promises a presentation consistent with the status of science (disciplina) she shares with her six companions : her teaching builds a general art of persuasive argument. Our study defines the position of Book 5 in Martianus’ work and in the Ancient rhetorical traditions. Whereas the Late Latin rhetorical handbooks that have survived partake of the « standard » rhetorical teaching, Martianus’ Book 5 adopts (and adapts) the guidelines of the Cicero’s latest rhetorical works (especially De oratore) : the theory is designed to meet both "particular " questions, area of orators, and the "general" philosophical questions. This conception of rhetoric is not new : it relies on philosophical traditions of teaching rhetoric that were developed in Peripatetic and Academic settings. Martianus’ Book 5 is however the only Late Antique testimony that embraces these advanced prospects, and seeks to organise them in a systematic form. As the science of persuasive speech, Rhetoric plays an essential role in Martianus’ project, and constitutes an important step before the higher principle represented by Harmony.

[ES] La tesis estudia cómo evolucionó la capilla musical de la Seo de Xàtiva desde 1814 hasta 1909, un momento de gran complejidad surgido por los procesos de cambio en el tránsito hacia la Edad contemporánea, y donde el declive de las instituciones religiosas ha condicionado los estudios de la música religiosa en el siglo XIX, generando discursos que describen unívocamente un ocaso. Este trabajo propone una revisión de esta visión que, sin negar el hecho del declive, tenga más en cuenta las dinámicas concretas con las que la iglesia de Xàtiva ¿clero y miembros laicos¿ logró la tarea de garantizar el decoro de las ceremonias religiosas en una situación desfavorable y cambiante. La nueva información aportada nos ha permitido fijar un punto de observación no sólo sobre las dinámicas institucionales sino también sobre las personas. En este sentido, buena parte de este trabajo de investigación está dedicada a las personas que ocuparon puestos dentro de la estructura musical de la colegiata de Santa María -reducida a parroquia más tarde- de Xàtiva: maestros de capilla, organistas, músicos de voz, niños y otros jóvenes en formación, ministriles y unos nuevos actores que se introducen en el tejido urbano, los músicos de las bandas de la ciudad, muchos de ellos desconocidos hoy en día por la historiografía de la música. El estudio realizado sobre la producción musical en el seno de la Seu de Xàtiva a lo largo de casi cien años nos ha permitido extraer una visión general que, con su propia idiosincracia, nos permite reconocer tres fases: la continuidad, el declive y el resurgir. Esta diversidad nos ha permitido interpretar de forma rica y matizada la realidad de la capilla de música de Xàtiva, más allá de un concepto simple y generalizado de "decadencia". / [CA] La tesi estudia com va evolucionar la capella musical de la Seu de Xàtiva des de 1814 fins 1909, un moment de gran complexitat sorgit pels processos de canvi en el trànsit cap a l'Edat contemporània, i on el declivi de les institucions religioses ha condicionat els estudis de la música religiosa en el segle XIX, generant discursos que descriuen unívocament un ocàs. Aquest treball proposa una revisió d'aquesta visió que, sense negar el fet del declivi, tinga més en compte les dinàmiques concretes amb les quals l'esglèsia de Xàtiva "clergat i membres laics" va assolir la tasca de garantir el decòrum de les cerimònies religioses en una situació desfavorable i canviant. La informació nova aportada ens ha permès fixar un punt d'observació no només sobre les dinàmiques institucionals sinó també sobre les persones. En aquest sentit, una bona part d'aquest treball d'investigació està dedicada a les persones que ocuparen llocs dins l'estructura musical de la col·legiata de Santa Maria -reduïda a parròquia més tard- de Xàtiva: mestres de capella, organistes, músics de veu, xiquets i altres joves en formació, ministrers i uns nous actors que s'introdueixen en el teixit urbà, els músics de les bandes de la ciutat, molts d'ells desconeguts avui dia per la historiografia de la música. L'estudi realitzat sobre la producció musical al si de la Seu de Xàtiva al llarg de gairebé cent anys ens ha permès extraure una visió general que, amb la seva pròpia idiosincràcia, ens permet reconéixer tres fases: la continuïtat, el declivi i el ressorgir. Aquesta diversitat ens permet interpretar d'una forma rica i matisada la realitat de la capella de música de Xàtiva, més enllà d'un concepte simple i generalitzat de "decadència". / [EN] The thesis studies how the musical chapel of the Seo de Xàtiva evolved from 1814 to 1909, a moment of great complexity arising from the processes of change in traffic towards the contemporary Age, and where the decline of religious institutions has conditioned studies of religious music in the 19th century, generating discourses that unequivocally describe a sunset. This work proposes a review of this vision that, without denying the fact of decline, takes into account the concrete dynamics with which the church of Xàtiva ¿clergy and lay members¿ achieved the task of guaranteeing the decorum of religious ceremonies in a unfavorable and changing situation. The new information provided has allowed us to set a point of observation not only on institutional dynamics but also on people. In this sense, a large part of this research work is dedicated to the people who held positions within the musical structure of the collegiate church of Santa María -later reduced to a parish church- in Xàtiva: chapel masters, organists, voice musicians, children and other young people in training, minstrels and some new actors who are introduced into the urban soundscape, the musicians of the city bands, many of them unknown today by the historiography of music. The study carried out on musical production within the Seo de Xàtiva over almost a hundred years has allowed us to extract a general vision that, with its own idiosyncrasy, allows us to recognize three phases: continuity, decline and resurgence. This diversity has allowed to interpret the reality of the Xàtiva music chapel in a rich and nuanced way, beyond a simple and generalized concept of decadence. / Martínez Alberola, F. (2022). La Música a la Col·legiata de Xàtiva en el segle XIX [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/186188 / TESIS

Systems Engineering is catching pace in many segments of product manufacturing industries. Model-Based Systems Engineering (MBSE) is the formalized application of modeling to perform systems engineering activities. In order to effectively utilize the complete potential of MBSE, a methodology consisting of appropriate processes, methods and tools is a key necessity. In the last decade, several MBSE projects have been implemented in industries varying from aerospace and defense to automotive, healthcare and transportation. The Systems Modeling Language (SysML) standard has been a key enabler of these projects at many companies. Although SysML is capable of providing a rich representation of any system through various viewpoints, the journey towards adopting SysML to realize the true potential of MBSE has been a challenge. Among all, one of the common roadblocks faced by systems engineers across industries has been the software engineering-based nature of SysML which leads to difficulties in grasping the modeling concepts for people that do not possess a software engineering background. As a consequence, developing a system (or a system of systems) architecture model using SysML has been a challenging task for many engineers even after a decade of its inception and multiple successive iterations of the language specification. Being a modeling language, SysML is method-agnostic, but its associated limitations outweigh the advantages. ARCADIA (Architecture Analysis and Design Integrated Approach) is a systems and software architecture engineering method based on architecture-centric and model-based engineering activities. If applied properly, ARCADIA allows for a very effective way to model the architecture of multi-domain systems, and overcome many of the limitations faced in traditional SysML implementation. This thesis evaluates the architecture development capabilities of ARCADIA/Capella versus SysML following the Object-Oriented Systems Engineering Method (OOSEM). The study focuses on the key equivalences and differences between the two MBSE solutions from a model development perspective and provides several criteria to evaluate their effectiveness for architecture development using a conceptual case of Adaptive Cruise Control (ACC). The evaluation is based on three perspectives namely, architecture quality, ability to support key process deliverables, and the overall methodology. Towards this end, an industry-wide survey of MBSE practitioners and thought leaders was conducted to identify several concerns in using models but also to validate the results of the study. The case study demonstrates how the ARCADIA/Capella approach addresses several challenges that are currently faced in SysML implementation. From a process point of view, ARCADIA/Capella and SysML equally support the provision of the key deliverable artifacts required in the systems engineering process. However, the candidate architectures developed using the two approaches show a considerable difference in various aspects such as the mapping of the form to function, creating functional architectures, etc. The ARCADIA/Capella approach allows to develop a ‘good’ system architecture representation efficiently and intuitively. The study also provides answers to several useful criteria pertaining to the overall candidate methodologies while serving as a practitioner’s reference in selecting the most suitable approach.

Thèse : Arts : Utrecht : 2000. / Bibliogr. p. 571-584. Notes bibliogr. Index.

The twentieth century has witnessed a renaissance in the composition of choral music. Not since the Baroque, has choral writing held the prominent position with composers that it has today. At the same time, English composers have regained a stature and influence they have not held since the time of Purcell. It was not until the time of Edward Elgar, Gustave Holst, and Ralph Vaughn-Williams that English music began to recover from the decline of the nineteenth century. Benjamin Britten has played a large role in both the choral renaissance and the recovery of English music.

Tesis por compendio / [EN] Historiography has bestowed upon the works of the treatise writer Guillermus de Podio a leading position in the history of Hispanic music theory. This is due not only to the intrinsic interest of his works, but also to his decisive influence, especially on the theorists of the 15th century. Nonetheless, existing studies still allow room to learn more about him. The first part of this doctoral dissertation focuses on the writer's contentious life story. Although there have been several hypotheses set forth concerning the author's name, origin, and identity, data universally accepted by experts on his background were limited to his Hispanic origin and to the fact that he was a priest. Newly discovered unpublished documents found in various civil registers and religious archives now allow us to study the rich and extensive professional career of Guillem Molins, alias de Podio (*1420c; +1500), a distinguished musician who played important roles related to music in some of the most prominent cathedrals of the Crown of Aragon (Barcelona, Girona, and Valencia), as well as in the service of the Royal House of John II of Aragon and his wife Juana Enríquez. In the second part we gain further knowledge of the musical environment of the author in the court of John II where the musician worked during the king's reign in Aragon (1458-1479). This dissertation helps to fill a historiographical gap that exists in existing studies concerning music in the court of the Aragonese monarchs. The historical record of the kingdom of John II was heretofore the most obscure from a musicological point of view throughout the nearly two centuries from 1336 to 1516, between the reigns of Peter the Ceremonious and Ferdinand the Catholic. A methodical analysis of archival sources, some of which were already known but not thoroughly studied, and others never considered for use in musicology, has allowed us to more closely examine different areas of music in this royal court, notably, the regulatory, economic, and social aspects. Moreover, it has been possible to describe, to varying levels of detail, the various groups of musicians that formed part of these royal houses, and their activities. The third and final part is focused on Guillem de Podio's work Enchiridion de principiis musice discipline contra negantes illa et destruentes and on the only manuscript that includes it (I-Bc, A.71). The analysis of this short codex is particularly noteworthy since it represents the first time that distinct parts of its structure have been studied in detail, as well as its watermarks, signatures, and capital letters. This new information, as well as other data provided (such as biographical data on musicians Antonio Marlet and Juan de Sanabria, who are cited in the manuscript) lead to a new hypothesis about the manuscript's origin (at least of its oldest part) from the city of Valencia. A new contextualised introduction to the ideas contained in the Enchiridion aids in the accessibility of the work's translation into Valencian/Catalan, which is included in the appendix. Among the remaining appendices, the ones that may be highlighted due to their importance and utility are those focused on the nearly complete transcription of the documents of interest, as well as the prosopographic catalogue (collection of biographies, including the documents consulted and bibliographies) of people related to music and who were with Guillem de Podio at the institutions where he worked. / [ES] La historiografía ha otorgado a la producción del tratadista Guillermus de Podio una posición preeminente en la Historia de la teoría musical hispánica, merced no solamente al interés intrínseco de sus obras, sino también a la influencia determinante que ejerció, especialmente, sobre los teóricos del siglo XVI. No obstante, los estudios hasta ahora existentes dejaban todavía lugar para avanzar en el conocimiento sobre su figura. La primera parte de este trabajo se focaliza en la controvertida cuestión biográfica. A pesar de que anteriormente se habían planteado diversas hipótesis sobre el nombre, origen e identidad del autor, los datos unánimemente admitidos por los especialistas sobre su trayectoria se reducían al origen hispánico y la condición sacerdotal. Nuevos documentos inéditos localizados en diversos archivos civiles y religiosos permiten ahora contemplar la rica y dilatada trayectoria profesional de Guillem Molins alias de Podio (*1420c;+1500), un distinguido músico que ejerció oficios musicales relevantes en algunas de las catedrales más destacadas de la Corona de Aragón -Barcelona, Girona y Valencia- así como al servicio de las casas reales de Juan II de Aragón y su esposa Juana Enríquez. En la segunda parte, se avanza en el conocimiento del entorno musical del tratadista en la corte de Juan II de Aragón, a quien el músico sirvió a lo largo de todo su reinado (1458-1479). Este trabajo contribuye a llenar un vacío historiográfico en los estudios sobre la música en la corte de los monarcas de Aragón, pues el reinado de Juan II era, hasta ahora, el más oscuro, desde el punto de vista musicológico, en los casi dos siglos que transcurrieron entre los de Pedro el Ceremonioso y Fernando el Católico, es decir, desde 1336 hasta 1516. Un vaciado sistemático de las fuentes archivísticas -algunas conocidas, pero poco exploradas, y otras nunca consideradas en musicología- ha permitido aproximarse a diversos aspectos -normativos, económicos, sociales- relacionados con el hecho musical en esta corte. Asimismo, ha sido posible caracterizar, con diferente grado de detalle, los diversos conjuntos de músicos que formaban parte de las casas reales y su actividad. La tercera y última parte está dedicada a la obra Enchiridion de principiis musice discipline contra negantes illa et destruentes de Guillem de Podio y al único manuscrito que la ha transmitido (I-Bc, A.71). El estudio de este pequeño códice recibe un impulso en este trabajo, puesto que por primera vez se estudia en detalle su estructura de fascículos, las marcas de agua, las signaturas y las letras capitales. Estos nuevos datos, y otros que también se aportan -como las referentes a detalles biográficos de los músicos Antoni Marlet y Juan de Sanabria, citados en el manuscrito- conducen a la formulación de una nueva hipótesis sobre el origen del manuscrito -al menos de su parte más antigua- que apunta a la ciudad de Valencia. Una introducción contextualitzada a las ideas presentes en el Enchiridion sirve para acercarse a la traducción de la obra al valenciano/catalán, que se ofrece en apéndice. Entre el resto de apéndices del trabajo destacan, por la entidad y la utilidad, el dedicado a la transcripción, mayoritariamente completa, de documentos de interés (apéndice III), así como el catálogo prosoprográfico (apéndice II), o colección de biografías, documentos consultados y bibliografías de aquellas personas relacionadas con la música que coincidieron con Guillem de Podio en las instituciones donde sirvió. / [CA] La historiografia ha atorgat a la producció del tractadista Guillermus de Podio una posició preeminent en la Història de la teoria musical hispànica, mercés no només a l'interès intrínsec de les seues obres, sinó també a la influència determinant que exercí, especialment, sobre els teòrics del segle XVI. No obstant això, els estudis fins ara existents deixaven encara lloc per a avançar en el coneixement sobre la seua figura. La primera part d'aquest treball es focalitza en la controvertida qüestió biogràfica. Tot i que anteriorment s'havien plantejat diverses hipòtesis sobre el nom, l'origen i la identitat de l'autor, les dades unànimement admeses pels especialistes sobre la seua trajectòria es reduïen a l'origen hispànic i a la condició de prevere. Nous documents inèdits localitzats en diversos arxius civils i religiosos permeten ara contemplar la rica i dilatada trajectòria professional de Guillem Molins àlies de Podio (*1420c; +1500), un distingit músic que va exercir oficis musicals rellevants en algunes de les catedrals més destacades de la Corona d'Aragó -Barcelona, Girona i València- així com al servei de les cases reials de Joan II d'Aragó i de la seua esposa Joana Enríquez. En la segona part, s'avança en el coneixement de l'entorn musical del tractadista en la cort de Joan II d'Aragó, a qui el músic va servir al llarg de tot el seu regnat (1458-1479). Aquest treball contribueix a omplir un buit historiogràfic en els estudis sobre la música en la cort dels monarques d'Aragó, puix el regnat de Joan II era, fins ara, el més obscur, des del punt de vista musicològic, dins dels gairebé dos segles que van entre els de Pere el Cerimoniós i Ferran el Catòlic, és a dir, des del 1336 fins el 1516. Un buidat sistemàtic de les fonts arxivístiques -algunes conegudes, però poc explorades, i altres mai no considerades en musicologia- ha permès aproximar-se a diversos aspectes -normatius, econòmics, socials- relacionats amb el fet musical en aquesta cort. Així mateix, ha sigut possible caracteritzar, amb diferent grau de detall, els diversos conjunts de músics que formaven part de les cases reials i la seua activitat. La tercera i darrera part es dedica a l'obra Enchiridion de principiis musice discipline contra negantes illa et destruentes de Guillem de Podio i a l'únic manuscrit que l'ha transmès (I-Bc, A.71). L'estudi d'aquest petit còdex rep en aquest treball un impuls atès que, per primera vegada, s'estudia en detall l'estructura de fascicles, les marques d'aigua, les signatures i les lletres capitals. Aquestes noves dades, i altres que també s'aporten -com ara les referents a detalls biogràfics dels músics Antoni Marlet i Juan de Sanabria, citats en el manuscrit- condueixen a la formulació d'una nova hipòtesi sobre l'origen del còdex -almenys de la part més antiga- que apunta a la ciutat de València. Una introducció contextualitzada a les idees presents a l'Enchiridion serveix per a acostar-se a la traducció de l'obra al valencià/català, que s'ofereix en apèndix. Entre la resta d'apèndixs del treball destaquen, per l'entitat i la utilitat, el dedicat a la transcripció, majoritàriament completa, de documents d'interès (apèndix III), així com el catàleg prosoprogràfic (apèndix II) o recull de biografies, documents consultats i bibliografies d'aquelles persones relacionades amb la música que varen coincidir amb Guillem de Podio en les institucions on va servir. / Villanueva Serrano, FJ. (2016). Guillem de Podio (*1420c; +1500): Estudi biogràfic crític, entorn musical a la cort de Joan II d'Aragó i l'obra Enchiridion de principiis musice discipline contra negantes illa et destruentes [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62154 / TESIS / Premios Extraordinarios de tesis doctorales / Compendio

Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2009-2010 / Les exposés astronomiques de Macrobe et Martianus Capella que l'on retrouve dans leurs oeuvres respectives, les Commentarii in Somnium Scipionis et le De Nuptiis Philologiae et Mercurii, sont bien plus que de simples textes scientifiques. Dans ce mémoire, nous nous sommes intéressée en effet à leur portée littéraire, bien souvent négligée, en concentrant notre analyse sur trois grands axes de recherche: l'impact du vocabulaire sur la clarté des idées, le sens et la place de la démonstration dans ces textes et finalement, le rôle de la vérité dans la conception et la transmission du savoir.

The focus of this thesis is Firmicus Maternus, his text the Mathesis, and their place in the intellectual culture of the fourth century AD. There are two sections to this thesis. The first part considers the two questions which have dominated the scholarship on the Mathesis and relate to the context of the work: the date of composition and Firmicus' faith at the time. Chapter 1 separates these questions and reconsiders them individually through an analysis of the three characters which appear throughout the text: Firmicus, the emperor, and the addressee Mavortius. The second part of the thesis considers the Mathesis within the intellectual culture of the fourth century. It examines how Firmicus establishes his authority as a didactic astrologer, with an emphasis on Firmicus' use of his sources. Chapter 2 examines which sources are credited. It considers the argument that Manilius is an uncredited source through an analysis of the astrological theory of the Mathesis and the Astronomica. In addition, the astrological theory of Ptolemy's Tetrabiblos is compared to the Mathesis to assess Firmicus' use of his named sources. The methods that Firmicus uses to assert his authority, including his use of sources, are compared to other didactic authors, both astrological or Late Antique in Chapter 3. This chapter examines whether Firmicus' suppression and falsifying of sources is found in other didactic literature. Chapter 4 considers possible reasons for the omission of Manilius' name and also the effect that this has had on intellectual culture and the place of the Mathesis within it.

Magraner Moreno, C. (2013). MÉTODO PROCESAL Y COHERENCIAS ENTRE LA EXPERIENCIA Y LA NUEVA PROPUESTA INTERPRETATIVA: UNA INVESTIGACIÓN ARTÍSTICA (AUTO)ETNOGRÁFICA EN TORNO A UN PROGRAMA DE CONCIERTO Y GRABACIÓN DISCOGRÁFICA DE ENSALADAS DE MATEO FLECHA Y BARTOLOMÉ CÁRCERES [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/29752 / TESIS