Examinations administered by the Royal Conservatory of Music (RCM) play a major role in the musical education of many individuals across Canada. The evaluative process needs to be a constructive one in order to ensure its positive impact on students’ musical education. Examiners who are confident and comfortable in their roles as assessors are more likely to provide this ideal environment for the students. Individuals at the dawn of their examining careers are prone to lower confidence and comfort levels due to their inexperience. Yet all music students deserve an optimal examination situation, even from new examiners. Ensuring that an examiner receives proper training will help to increase their confidence and comfort levels while assessing students. This study examined the elements of an examiner’s education, experience and preparation which contributed to higher confidence and comfort levels as they participated in the RCM evaluative process. Ten individuals participated in surveys and interviews. Seven were recent apprentices of the examiner training program and three were senior examiners. Their experiences and insights given in a narrative form shed light on which elements of their background and training benefited them as examiners. According to the participants, varied and extensive pedagogical training, taking exams as students and intensive performance education gave them the most advantages during their early careers as examiners. Regarding the examiner apprenticeship program, participants felt that they would have benefited from more practical experience during the early classroom seminar, additional opportunities to observe students at varying performing levels and more time for discussion with their mentors. These recommendations for background preparation and enhanced training are intended to give examiners greater confidence in their evaluative roles early in their careers, enabling them to provide constructive and effective assessments for students and their teachers.

Examinations administered by the Royal Conservatory of Music (RCM) play a major role in the musical education of many individuals across Canada. The evaluative process needs to be a constructive one in order to ensure its positive impact on students’ musical education. Examiners who are confident and comfortable in their roles as assessors are more likely to provide this ideal environment for the students. Individuals at the dawn of their examining careers are prone to lower confidence and comfort levels due to their inexperience. Yet all music students deserve an optimal examination situation, even from new examiners. Ensuring that an examiner receives proper training will help to increase their confidence and comfort levels while assessing students. This study examined the elements of an examiner’s education, experience and preparation which contributed to higher confidence and comfort levels as they participated in the RCM evaluative process. Ten individuals participated in surveys and interviews. Seven were recent apprentices of the examiner training program and three were senior examiners. Their experiences and insights given in a narrative form shed light on which elements of their background and training benefited them as examiners. According to the participants, varied and extensive pedagogical training, taking exams as students and intensive performance education gave them the most advantages during their early careers as examiners. Regarding the examiner apprenticeship program, participants felt that they would have benefited from more practical experience during the early classroom seminar, additional opportunities to observe students at varying performing levels and more time for discussion with their mentors. These recommendations for background preparation and enhanced training are intended to give examiners greater confidence in their evaluative roles early in their careers, enabling them to provide constructive and effective assessments for students and their teachers.

O presente trabalho teve como objetivo geral investigar a inserção profissional de egressos dos cursos técnicos dos Conservatórios Estaduais de Música de Minas Gerais (CEM). Os objetivos específicos buscaram identificar quem são os egressos dos cursos técnicos dos CEM; mapear as atividades profissionais dos egressos; examinar suas condições de trabalho; e analisar a avaliação dos egressos sobre o curso técnico. Nortearam o trabalho os conceitos de inserção profissional, trabalho, emprego e ocupação, além da definição de precarização e flexibilização do trabalho. O método escolhido foi o de levantamento ou survey, sendo que a população do survey foi composta pelos egressos dos cursos técnicos de dez dos 12 CEM dos anos de 2010, 2011 e 2012. A amostra foi considerada probabilística aleatória simples e o instrumento de coleta de dados escolhido foi o questionário autoadministrado via internet. Para analisar os dados, foi utilizada a estatística descritiva, realizada a partir de análises univariadas, bivariadas e comparação de subgrupos, e a estatística inferencial, realizada através de testes de significância estatística. Neste trabalho, a inserção profissional é considerada um percurso, um processo educativo. O percurso da inserção profissional dos egressos dos CEM é esboçado a partir dos traços deixados por esses egressos, imprescindíveis para demarcar aspectos que demonstram as relações que os egressos estabelecem entre o curso técnico oferecido pelos CEM e suas escolhas profissionais. Os resultados indicaram que os percursos de inserção profissional dos egressos são marcados por características sócio-demográficas, como idade, raça/etnia, sexo e religião; pela precocidade, tanto da formação quanto da atuação profissional; pela continuidade da formação, seja na área de música ou em outras áreas; e, em alguns casos, pela disfunção da inserção profissional, já que nem todos passam a atuar profissionalmente na área do curso depois de o terem concluído. Em relação às condições da atuação profissional, apesar da precariedade e flexibilidade no trabalho e dos baixos salários, abaixo da média nacional para a maioria dos egressos, a satisfação dos egressos com seu trabalho atual é alta e a avalição dos cursos, para a grande maioria dos egressos, bastante positiva; o mercado na área de música se caracteriza pela crise do emprego e não do trabalho. As atividades musicais realizadas profissionalmente pelos egressos são variadas e têm relação com vários momentos do sistema cultural, indicando que, embora os cursos técnicos dos CEM tenham como finalidade central a formação de cantores e instrumentistas, eles não fixam uma identidade única para seus egressos. A inserção profissional dos egressos é caracterizada como um mosaico de trajetórias, que se constitui a partir de egressos que permanecem na área de música, seja estudando, trabalhando, ou estudando e trabalhando, egressos que se deslocam para outras áreas, porque não encontraram as condições de trabalho desejadas ou porque não buscavam se profissionalizar em música, e egressos que se mantêm vinculados à área de música, participando de grupos musicais e desenvolvendo trabalho voluntário. Esses resultados poderão subsidiar a avaliação e o planejamento dos cursos técnicos dos CEM, contribuindo, assim, para uma melhor compreensão da articulação dos cursos com o mercado de trabalho da área de música e, de modo mais amplo, com a sociedade. / The general aim of the present research was to investigate the professional insertion of the former students of the Minas Gerais State Conservatories of Music (CEM) technical education programs. The specific objectives aimed to identify who are the CEM‟s former students; to map their professional activities; to examine their working conditions; and to analyze how they evaluate the technical program they have attended. This research was guided by the concepts of professional insertion, labor, employment and occupation, as well as by the definition of job insecurity and work flexibility. The method chosen to carry out this study was the survey, and students, who have completed the technical education program from 10 out of the 12 CEMs in the years 2010, 2011 and 2012, composed the sample population of the survey. A random probabilistic sampling was used and the data collection instrument chosen was a self-administrated on-line questionnaire. In order to analyze the data, descriptive statistics was carried from univariate, bivariate and sub-group comparison analyzes, and inferential statistics undertaken through tests of statistical significance. Throughout this research, the professional insertion is considered a path, an educational process. The professional insertion path of the former CEM students is outlined from traces left by them, traces that are essential to demarcate the aspects that show the relation that the former students establish between the technical education offered by the CEM and their professional career choices. The results indicate that the former student‟s professional insertion path is marked by social-demographical characteristics, such as age, race/ethnicity, sex and religion; by precociousness, both in their formation and in their professional performance; by a continuity of their professional formation, in the musical field or in other areas of study; and, in some cases, by a professional insertion dysfunction, since not all of the former students have been working in the area of their formal training. Regarding the working conditions, in spite of the job insecurity, work flexibility and the low salaries – which are below the national average for most of the former students, their satisfaction with their jobs is high and the courses evaluation – for the majority of the former students – is very positive. The job market for music careers is characterized by an employment crisis and not by a working crisis. The former students perform various musical activities related to different moments of the cultural system. This fact indicates that, although the CEM‟s technical programs have as their main goal the formation of singers and instrument players, they do not attach a unique identity to their former students. A mosaic of trajectories characterizes the former CEM students‟ professional insertion. This mosaic is constituted by former students that continue to work in the music field – either as students, as professionals or as both students and professionals; former students who migrate to different careers because they couldn‟t find the desired working conditions or because they did not want to professionalize in music; and former students who are still attached to the musical field through the participation in musical groups and/or developing volunteer work. The results of the present research can enable the evaluation and planning of the CEMs, and therefore contribute to a better understanding of the programs‟ articulations with the job market for music graduates and, in a broader way, with the whole society.

O presente trabalho teve como objetivo geral investigar a inserção profissional de egressos dos cursos técnicos dos Conservatórios Estaduais de Música de Minas Gerais (CEM). Os objetivos específicos buscaram identificar quem são os egressos dos cursos técnicos dos CEM; mapear as atividades profissionais dos egressos; examinar suas condições de trabalho; e analisar a avaliação dos egressos sobre o curso técnico. Nortearam o trabalho os conceitos de inserção profissional, trabalho, emprego e ocupação, além da definição de precarização e flexibilização do trabalho. O método escolhido foi o de levantamento ou survey, sendo que a população do survey foi composta pelos egressos dos cursos técnicos de dez dos 12 CEM dos anos de 2010, 2011 e 2012. A amostra foi considerada probabilística aleatória simples e o instrumento de coleta de dados escolhido foi o questionário autoadministrado via internet. Para analisar os dados, foi utilizada a estatística descritiva, realizada a partir de análises univariadas, bivariadas e comparação de subgrupos, e a estatística inferencial, realizada através de testes de significância estatística. Neste trabalho, a inserção profissional é considerada um percurso, um processo educativo. O percurso da inserção profissional dos egressos dos CEM é esboçado a partir dos traços deixados por esses egressos, imprescindíveis para demarcar aspectos que demonstram as relações que os egressos estabelecem entre o curso técnico oferecido pelos CEM e suas escolhas profissionais. Os resultados indicaram que os percursos de inserção profissional dos egressos são marcados por características sócio-demográficas, como idade, raça/etnia, sexo e religião; pela precocidade, tanto da formação quanto da atuação profissional; pela continuidade da formação, seja na área de música ou em outras áreas; e, em alguns casos, pela disfunção da inserção profissional, já que nem todos passam a atuar profissionalmente na área do curso depois de o terem concluído. Em relação às condições da atuação profissional, apesar da precariedade e flexibilidade no trabalho e dos baixos salários, abaixo da média nacional para a maioria dos egressos, a satisfação dos egressos com seu trabalho atual é alta e a avalição dos cursos, para a grande maioria dos egressos, bastante positiva; o mercado na área de música se caracteriza pela crise do emprego e não do trabalho. As atividades musicais realizadas profissionalmente pelos egressos são variadas e têm relação com vários momentos do sistema cultural, indicando que, embora os cursos técnicos dos CEM tenham como finalidade central a formação de cantores e instrumentistas, eles não fixam uma identidade única para seus egressos. A inserção profissional dos egressos é caracterizada como um mosaico de trajetórias, que se constitui a partir de egressos que permanecem na área de música, seja estudando, trabalhando, ou estudando e trabalhando, egressos que se deslocam para outras áreas, porque não encontraram as condições de trabalho desejadas ou porque não buscavam se profissionalizar em música, e egressos que se mantêm vinculados à área de música, participando de grupos musicais e desenvolvendo trabalho voluntário. Esses resultados poderão subsidiar a avaliação e o planejamento dos cursos técnicos dos CEM, contribuindo, assim, para uma melhor compreensão da articulação dos cursos com o mercado de trabalho da área de música e, de modo mais amplo, com a sociedade. / The general aim of the present research was to investigate the professional insertion of the former students of the Minas Gerais State Conservatories of Music (CEM) technical education programs. The specific objectives aimed to identify who are the CEM‟s former students; to map their professional activities; to examine their working conditions; and to analyze how they evaluate the technical program they have attended. This research was guided by the concepts of professional insertion, labor, employment and occupation, as well as by the definition of job insecurity and work flexibility. The method chosen to carry out this study was the survey, and students, who have completed the technical education program from 10 out of the 12 CEMs in the years 2010, 2011 and 2012, composed the sample population of the survey. A random probabilistic sampling was used and the data collection instrument chosen was a self-administrated on-line questionnaire. In order to analyze the data, descriptive statistics was carried from univariate, bivariate and sub-group comparison analyzes, and inferential statistics undertaken through tests of statistical significance. Throughout this research, the professional insertion is considered a path, an educational process. The professional insertion path of the former CEM students is outlined from traces left by them, traces that are essential to demarcate the aspects that show the relation that the former students establish between the technical education offered by the CEM and their professional career choices. The results indicate that the former student‟s professional insertion path is marked by social-demographical characteristics, such as age, race/ethnicity, sex and religion; by precociousness, both in their formation and in their professional performance; by a continuity of their professional formation, in the musical field or in other areas of study; and, in some cases, by a professional insertion dysfunction, since not all of the former students have been working in the area of their formal training. Regarding the working conditions, in spite of the job insecurity, work flexibility and the low salaries – which are below the national average for most of the former students, their satisfaction with their jobs is high and the courses evaluation – for the majority of the former students – is very positive. The job market for music careers is characterized by an employment crisis and not by a working crisis. The former students perform various musical activities related to different moments of the cultural system. This fact indicates that, although the CEM‟s technical programs have as their main goal the formation of singers and instrument players, they do not attach a unique identity to their former students. A mosaic of trajectories characterizes the former CEM students‟ professional insertion. This mosaic is constituted by former students that continue to work in the music field – either as students, as professionals or as both students and professionals; former students who migrate to different careers because they couldn‟t find the desired working conditions or because they did not want to professionalize in music; and former students who are still attached to the musical field through the participation in musical groups and/or developing volunteer work. The results of the present research can enable the evaluation and planning of the CEMs, and therefore contribute to a better understanding of the programs‟ articulations with the job market for music graduates and, in a broader way, with the whole society.

O presente trabalho teve como objetivo geral investigar a inserção profissional de egressos dos cursos técnicos dos Conservatórios Estaduais de Música de Minas Gerais (CEM). Os objetivos específicos buscaram identificar quem são os egressos dos cursos técnicos dos CEM; mapear as atividades profissionais dos egressos; examinar suas condições de trabalho; e analisar a avaliação dos egressos sobre o curso técnico. Nortearam o trabalho os conceitos de inserção profissional, trabalho, emprego e ocupação, além da definição de precarização e flexibilização do trabalho. O método escolhido foi o de levantamento ou survey, sendo que a população do survey foi composta pelos egressos dos cursos técnicos de dez dos 12 CEM dos anos de 2010, 2011 e 2012. A amostra foi considerada probabilística aleatória simples e o instrumento de coleta de dados escolhido foi o questionário autoadministrado via internet. Para analisar os dados, foi utilizada a estatística descritiva, realizada a partir de análises univariadas, bivariadas e comparação de subgrupos, e a estatística inferencial, realizada através de testes de significância estatística. Neste trabalho, a inserção profissional é considerada um percurso, um processo educativo. O percurso da inserção profissional dos egressos dos CEM é esboçado a partir dos traços deixados por esses egressos, imprescindíveis para demarcar aspectos que demonstram as relações que os egressos estabelecem entre o curso técnico oferecido pelos CEM e suas escolhas profissionais. Os resultados indicaram que os percursos de inserção profissional dos egressos são marcados por características sócio-demográficas, como idade, raça/etnia, sexo e religião; pela precocidade, tanto da formação quanto da atuação profissional; pela continuidade da formação, seja na área de música ou em outras áreas; e, em alguns casos, pela disfunção da inserção profissional, já que nem todos passam a atuar profissionalmente na área do curso depois de o terem concluído. Em relação às condições da atuação profissional, apesar da precariedade e flexibilidade no trabalho e dos baixos salários, abaixo da média nacional para a maioria dos egressos, a satisfação dos egressos com seu trabalho atual é alta e a avalição dos cursos, para a grande maioria dos egressos, bastante positiva; o mercado na área de música se caracteriza pela crise do emprego e não do trabalho. As atividades musicais realizadas profissionalmente pelos egressos são variadas e têm relação com vários momentos do sistema cultural, indicando que, embora os cursos técnicos dos CEM tenham como finalidade central a formação de cantores e instrumentistas, eles não fixam uma identidade única para seus egressos. A inserção profissional dos egressos é caracterizada como um mosaico de trajetórias, que se constitui a partir de egressos que permanecem na área de música, seja estudando, trabalhando, ou estudando e trabalhando, egressos que se deslocam para outras áreas, porque não encontraram as condições de trabalho desejadas ou porque não buscavam se profissionalizar em música, e egressos que se mantêm vinculados à área de música, participando de grupos musicais e desenvolvendo trabalho voluntário. Esses resultados poderão subsidiar a avaliação e o planejamento dos cursos técnicos dos CEM, contribuindo, assim, para uma melhor compreensão da articulação dos cursos com o mercado de trabalho da área de música e, de modo mais amplo, com a sociedade. / The general aim of the present research was to investigate the professional insertion of the former students of the Minas Gerais State Conservatories of Music (CEM) technical education programs. The specific objectives aimed to identify who are the CEM‟s former students; to map their professional activities; to examine their working conditions; and to analyze how they evaluate the technical program they have attended. This research was guided by the concepts of professional insertion, labor, employment and occupation, as well as by the definition of job insecurity and work flexibility. The method chosen to carry out this study was the survey, and students, who have completed the technical education program from 10 out of the 12 CEMs in the years 2010, 2011 and 2012, composed the sample population of the survey. A random probabilistic sampling was used and the data collection instrument chosen was a self-administrated on-line questionnaire. In order to analyze the data, descriptive statistics was carried from univariate, bivariate and sub-group comparison analyzes, and inferential statistics undertaken through tests of statistical significance. Throughout this research, the professional insertion is considered a path, an educational process. The professional insertion path of the former CEM students is outlined from traces left by them, traces that are essential to demarcate the aspects that show the relation that the former students establish between the technical education offered by the CEM and their professional career choices. The results indicate that the former student‟s professional insertion path is marked by social-demographical characteristics, such as age, race/ethnicity, sex and religion; by precociousness, both in their formation and in their professional performance; by a continuity of their professional formation, in the musical field or in other areas of study; and, in some cases, by a professional insertion dysfunction, since not all of the former students have been working in the area of their formal training. Regarding the working conditions, in spite of the job insecurity, work flexibility and the low salaries – which are below the national average for most of the former students, their satisfaction with their jobs is high and the courses evaluation – for the majority of the former students – is very positive. The job market for music careers is characterized by an employment crisis and not by a working crisis. The former students perform various musical activities related to different moments of the cultural system. This fact indicates that, although the CEM‟s technical programs have as their main goal the formation of singers and instrument players, they do not attach a unique identity to their former students. A mosaic of trajectories characterizes the former CEM students‟ professional insertion. This mosaic is constituted by former students that continue to work in the music field – either as students, as professionals or as both students and professionals; former students who migrate to different careers because they couldn‟t find the desired working conditions or because they did not want to professionalize in music; and former students who are still attached to the musical field through the participation in musical groups and/or developing volunteer work. The results of the present research can enable the evaluation and planning of the CEMs, and therefore contribute to a better understanding of the programs‟ articulations with the job market for music graduates and, in a broader way, with the whole society.

La thèse porte sur la construction d'une identité spécifique chez les professeurs des écoles de musique: musicien et enseignant. La recherche s'intéresse aux personnes musiciennes qui suivent un cursus de formation initiale à l'enseignement musical spécialisé et montre, par l'analyse de différents parcours, comment l'identité de musicien s'articule avec l'identité d'enseignant.<p><p>In english <p>The thesis relates the construction of specific identity to the professors of the music schools: musicians and teachers. The research task concerns the study of musician people who follow an initial training specialized in musical teaching and shows, by the analysis of various training directions, how the identity of the musician turns around the teacher’s identity. <p> / Doctorat en Sciences Psychologiques et de l'éducation / info:eu-repo/semantics/nonPublished

[ES] La autonomía y prestigio que han ido adquiriendo las bandas de música en la sociedad actual son tan merecidos como frutos de un largo y costoso camino recorrido. Incluso el acceso a las plantillas profesionales se ha ido adaptando a la propia idiosincrasia de la banda, exigiendo interpretar en las pruebas de acceso fragmentos del repertorio original para banda, algo que se ha intensificado en la especialidad de tuba en los últimos años. No obstante, parece ser que ni la metodología ni la formación ofrecida en los centros educativos sigue el ritmo de esta realidad cambiante, a lo que se añade un interés creciente de los compositores desde finales del siglo XX por otorgarle a la tuba mayor protagonismo, escribiéndole solos y otros pasajes destacados dentro de sus obras para banda sinfónica. Y para comprobarlo, este trabajo presenta dos estudios principales. El primero, está dedicado a analizar el acceso a una banda de música profesional en España para la especialidad de tuba, con especial interés en el repertorio exigido para interpretar en el ejercicio práctico. Y el segundo estudio, se plantea para examinar el Plan de Estudios de las Enseñanzas Artísticas Superiores de Música y la Guías Docentes de los conservatorios y escuelas superiores de música, así como el trabajo que desarrollan en el aula de tuba los profesores, respecto del repertorio sinfónico-bandístico. Los resultados de ambos motivan la realización de un tercer estudio, basado en la selección, justificación y análisis de fragmentos destacados de la tuba dentro del repertorio sinfónico para banda, los cuales se presentan como propuesta pedagógica en un capítulo complementario a la propia investigación. El objetivo del conjunto de esta tesis es seguir valorando y difundiendo el repertorio para banda sinfónica en general, y en la especialidad de tuba en particular, ante la discordante e injustificable realidad acaecida hasta la actualidad entre el ámbito académico y el laboral. Además, si lo que se persigue es conseguir futuros profesionales de la música completos y versátiles, deben estar totalmente preparados para un mundo tan competitivo y exigente como el que se vive. / [CA] L'autonomia i el prestigi que han anat adquirint les bandes de música a la societat actual són tan merescuts com fruits d'un llarg i costós camí recorregut. Fins i tot l'accés a les plantilles professionals s'ha anat adaptant a la pròpia idiosincràsia de la banda, exigint interpretar a les proves d'accés fragments del repertori original per a banda, cosa que s'ha intensificat en l'especialitat de tuba els darrers anys. No obstant això, sembla que ni la metodologia ni la formació oferida als centres educatius segueix el ritme d'aquesta realitat canviant, a la qual cosa s'afegeix un interès creixent dels compositors des de finals del segle XX per atorgar-li a la tuba més protagonisme, escrivint-li solos i altres passatges destacats dins de les seues obres per a banda simfònica. I per comprovar-ho, aquest treball presenta dos estudis principals. El primer, està dedicat a analitzar l'accés a una banda de música professional a Espanya per a l'especialitat de tuba, amb un interès especial en el repertori exigit per interpretar en l'exercici pràctic. I el segon estudi, es planteja per examinar el Pla d'Estudis dels Ensenyaments Artístics Superiors de Música i les Guies Docents dels conservatoris i escoles superiors de música, així com el treball desenvolupat a l'aula de tuba pels professors, respecte del repertori simfònic-bandístic. Els resultats de tots dos motiven la realització d'un tercer estudi, basat en la selecció, justificació i l'anàlisi de fragments destacats de la tuba del repertori simfònic per a banda, els quals es presenten com a proposta pedagògica en un capítol complementari a la pròpia investigació. L'objectiu del conjunt d'aquesta tesi és continuar valorant i difonent el repertori per a banda simfònica en general, i en l'especialitat de tuba en particular, davant de la discordant i injustificable realitat esdevinguda fins avui entre l'àmbit acadèmic i el laboral. A més, si el que es vol és aconseguir futurs professionals de la música complets i versàtils, han d'estar totalment preparats per a un món tan competitiu i exigent com el que es viu. / [EN] The autonomy and prestige that wind bands have been acquiring in today's society are as well-deserved as the fruits of a long and arduous journey. Even access to professional staff has been adapted to the band's idiosyncrasies, demanding to play excerpts from the original repertoire for wind band in the auditions, something that has intensified for tuba in recent years. However, it seems that neither the methodology nor the training offered in educational centres keeps pace with this changing reality. In addition, composers have been interested since the end of the 20th century in giving the tuba greater prominence, writing solo passages and other outstanding excerpts within his/her works for symphonic bands. Furthermore, to prove it, this work presents two primary studies. The first is dedicated to analysing the access to a professional wind band in Spain for the tuba chair, with a particular interest in the repertoire required to play in the practical exercise. Moreover, the second study is proposed to examine the Syllabus of the Higher Artistic Education of Music and the Teaching Guides of the conservatories and higher schools of music, as well as the work developed in the tuba class regarding the specific repertoire for symphonic wind band. The results of both motivate the realisation of a third study, based on the selection, justification and analysis of significant excerpts for tuba of the symphonic repertoire for wind band, which are presented as a pedagogical proposal in a complementary chapter to the research itself. This thesis aims to continue valuing and disseminating the repertoire for symphonic wind bands in general, and for tuba in particular, in the face of the harsh and unjustifiable reality that has occurred until now between the academic and labour spheres. In addition, if what is sought is to achieve complete and versatile future professional musicians, they must be fully prepared for a world as competitive and demanding as the one we live in. / Monteagudo Mañas, J. (2022). La evolución del papel de la tuba en la banda sinfónica: selección, justificación y análisis de fragmentos destacados para una propuesta de aplicación pedagógica [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/191450