Recent research about L2 writing indicates that L2 writers are likely to instruct themselves on how and what to do during the writing process, using both languages to do so. This constant switch between their L1 and their L2 during their L2 composing process is known as "language-switching" (L-S). In this qualitative clinical study my goals were mainly three: a) to describe and understand the purposes for which participants would potentially language-switch to their L1s, b) to depict the perceptions and understandings these four participants have about their personal L2 composing process and the use of their L1s, and c) to describe the tensions they experienced during the L2 writing tasks in the study. The participants in this study were four students in an American university who completed two L2 writing tasks using a think-aloud technique, in which students verbalized all their thoughts while they wrote. Data collected in this study included interview transcripts, think aloud protocols, reflection sessions, videotapes, students' written texts and observations. The Atlas TI computer software assisted a constant comparative method which implied a continuous comparison of all the data sources (Merriam, 2009). I matched language-switching instances with the participants' behaviors and assigned codes referring the writers' actual activities, behaviors and perceptions. Findings suggest that the L2 composing process is a bilingual event in which L-S has a natural occurrence. The use of the writer's L1 during the L2 writing process is closely related to the writer's L2 proficiency, and the degree of proficiency can be related to the situational context (FL vs. SL) where the L2 is learned and used. Findings revealed that Generating L2 Content was the most recurring purpose for L-S during L2 writing, followed by Controlling the Process of Writing and Revising. It also revealed that participants transfer their L1 skills to the L2 writing process and that the writing expertise they bring to the L2 composing process may influence the L-S purpose frequency. One contribution of this study is the participants' perceptions about their L-S habits. Most were aware of the benefits that L-S brought to their L2 writing process. Their L1s helped them organize ideas, write better texts and understand the tasks given. This study also revealed that time frame, prompts, lack of L2 proficiency and think-aloud protocols can influence the participants' L2 writing process negatively.

Sättet på vilket vi upplever musikalteater har under de senaste åren genomgått ett skifte. Allt fler musikaler har gått ifrån att främst vara framförda live till att allt oftare vara inom ett producerat och inspelat format. Som musikproducent och musikalkompositör är jag fascinerad av detta skifte, och vilka möjligheter detta medför. Inom ramen för detta självständiga arbete på avancerad nivå utforskar jag möjligheterna i att komponera och producera musikal för inspelat medium, utifrån perspektivet av musik- och medieproduktion, och vilka konstnärliga möjligheter som uppstår när produktionstekniska aspekter tas hänsyn till under hela processen i skapandet av en musikalfilm. Genom reflektion kring hur musikaler görs idag, och hur modern teknologi och produktionstekniker kan påverka hur musikaler görs framöver, diskuterar jag olika produktionskoncept utifrån egna erfarenheter erhållna från detta projekt, och utifrån redan etablerade produktionsmetoder och teorier, såsom användandet av klicktrack inom musikproduktion, musikaliska metaforer, och mediatransformation. Jag diskuterar fördelen med att, som musikproducent, vara insatt i alla delar av processen, och drar slutsatsen att genom att ta hänsyn till produktionstekniska aspekter under hela skapandeprocessen uppstår nya konstnärliga möjligheter för narrativ och berättande inom musikalteater. / The way in which we experience musical theatre has shifted in the last few years. Rather than being performed live, musicals lean more often towards being within a produced and recorded format. As music producer and musical composer, I am intrigued by this change, and the possibilities it entails. Within this master’s project I explore the possibilities in composing and producing musical for the recorded medium, out of the perspective of music, and media production, and explore artistic possibilities when considering the production aspects during the entire process in creating a musical film. Reflecting on how musicals are being made right now, and how modern technology and producing techniques can affect how musicals could be made in the future, I discuss different production concepts I gather from my own experience working with this project, and previously existing production methods and theoretical ideas, such as the use of a click track while producing, musical metaphors, and media transformation. I discuss the benefits of, as music producer, having insight in every step of the process, and state that by considering production aspects of the project during the entire process, new artistic possibilities are created for musical narrative and further storytelling when creating musical theatre. / <p>Inkluderat som bilaga för detta självständiga arbete är ett videoklipp med utvalda delar från musikalfilmen <em>HAZEL - An Extravagant Musical</em>, som arbetet resulterat i.</p>

This thesis is about playing duo with double bass and voice and how I as a double bass player should play to make the music as interesting as possible but also to make the singer the most comfortable. As a bass player, I don’t have the luxury of playing several intricate chords in the same extent as for example a piano player and learning to be clear and precise in my playing is a skill that takes many years to master.  The methods I’ve chosen to explore this is composing short examples of songs for voice and double bass where I first play around with harmony and different bass notes on specific chords to make the harmonic progression clearer. I’ve also composed a short example where I play the same bassline in three different octaves. The purpose of this was to explore which of these registers was the most comfortable and what feeling the different registers gave.  In the next part of the project, I analyze my results and write music inspired by my findings to be performed at my exam concert which took place the 21st of February in Nathan Milsteinsalen at the Royal College of Music in Stockholm. The band consisted of six singers and double bass.   Concludingly, I state that the results are varied. The results for the harmonic experiment had individual aspects amongst the singers and could not specify a general rule of thumb. As for the register experiment, I found that the two lower registers we’re the most comfortable although the highest gave an interesting feeling. / <p>Devil May Care (Bob Dorough), The Way You Look Tonight (Jerome Kern &amp; Dorothy Fields), Weathered (August Eriksson), The Lovers (August Eriksson), Clouds (August Eriksson), Se Mig (August Eriksson).</p><p></p><p>Medverkande:</p><p>August Eriksson - kontrabas</p><p>Emma Jansson - sång</p><p>Emmalisa Hallander - sång</p><p>Amanda Sandorov - sång</p><p>Selma Pinton - sång</p><p>Ella Cronberg - sång</p><p>Jenny Hedman - sång</p><p></p><p>bifogade ljudbilagor är:</p><p>- examenskonserten</p><p>- utdrag ur "Se Mig"</p>

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In this project, a band’s possibilities to deepen its improvisational capabilities as a group has been studied. The goal has been to make it possible for a quartet to improvise arrangements of original compositions in terms of varying forms, dynamics, tempi and roles in the music. To achieve this, several interplay exercises have been created to practice these parameters. After the concert related to the project, an analysis has been conducted on which of these exercises that seem to have influenced the band the most, but also which characteristics that made some exercises seem influential and some redundant.   After acknowledging the difficulties of knowing what is a result of the exercises, and what is merely a display of the quartet’s natural interplay, a conclusion has been reached. The interplay exercises that seem to deepen a group’s capabilities for improvising arrangements are the ones that can be done very concrete, but also be varied and feed new ideas. This was audible in a concert situation, where exercises in looping, free improvisation and varying musical roles became prominent. On the contrary, exercises that are too narrow, making them difficult to evolve, do not seem to have the same effect on a group’s interplay. Examples of these are playing fast rubato, or changing instrumentation quickly. / <p><strong>Repertoar:</strong>"Ask Me Now" - Thelonious Monk</p><p>"Anti" - Olle Lannér Risenfors</p><p>"Allt Hör Ihop" - Olle Lannér Risenfors</p><p>"Preparations Are Important?" - Olle Lannér Risenfors</p><p>"Never Ending" - Olle Lannér Risenfors</p><p>(Extranummer) "Now's The Time" - Charlie Parker</p><p><strong>Medverkande:</strong></p><p>Marius Zeeberg - tenorsaxofon</p><p>David Stener - piano</p><p>Olle Lannér Risenfors - kontrabas</p><p>Nils Agnas - trumset</p><p>Bifogat finns inspelning från examenskonserten.</p>

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<p>Repertoar:</p><p>Budpology- Jonatan Erlingsson</p><p>Strictly Confidential- Bud Powell</p><p>Tempus Fugit- Bud Powell</p><p>The Fruit- Bud Powell</p><p>Celia- Bud Powell</p><p>I´ll Keep Loving You- Bud Powell</p><p>I´ll Remember April- Gene de Paul</p><p></p><p>Medverkande Musiker:</p><p>piano, arrangemang, komposition - Jonatan Erlingsson</p><p>kontrabas - August Eriksson</p><p>trummor - Henrik Jäderberg</p><p>saxofon - Amanda Sedgwick</p><p>violin 1 - Tor Alvin Wika</p><p>violin 2 - Natasja Dluzewska</p><p>viola - Stina Ahlgren</p><p>cello - Åse-Maria Bygland Larsen</p>

Silence is inevitable. It's something we can't escape in our everyday lives, and it's something we can't escape in music as well. After listening to music by Morton Feldman, I realized that silence is a big but less unexplored part of music. This made me want to study how silence can be used in music.    The purpose of this essay is to investigate the roles silence can have in music, systemize different functions silence can have, improvise and compose music that in some way illuminates silence.    My research has led me to identify and categorize seven distinct functions of silence in music. This systematic approach has empowered me to compose and utilize silence in a structured manner. The culmination of this method was the creation of six unique compositions, which were then rehearsed and performed in a concert by a band comprising of me on Piano, Maja Svanteson on Voice, Hannes Arason on Trumpet, and Fredrik Ljungkvist on Saxophone and Clarinet.   Using one or two functions when composing and thereby being able to study the chosen function isolated has made me see how multifaceted silence is. The silence is and should be seen as nuanced in the same way as a sound or tone. Our band noticed a tendency to play softly during our initial rehearsals and felt a general unease when confronted with silence. This hesitancy not only restrained our music but also our potential for growth. However, as we overcame these habits, our use of silence became more varied, enriching our music and making it more intriguing. / <p><em>Tyst Koral (variation 1) - </em><strong>Musik:</strong> Rasmus Mannervik</p><p><em>Under stjärnorna - </em><strong>musik:</strong> Rasmus Mannervik, <strong>text:</strong> Pär Lagerkvist</p><p><em>Sextondelar (variation 1) - <strong>Musik: </strong></em>Rasmus Mannervik</p><p><em>En stilla ödmjuk själ - </em><strong>Musik: </strong>Rasmus Mannervik, <strong>Text:</strong> Francesco Petrarca</p><p><em>Tyst Koral (variation 2) - </em><strong>Musik: </strong>Rasmus Mannervik</p><p><em>Fri improvisation - </em><strong>Instruktion: </strong>Rasmus Mannervik</p><p><em>Sextondelar (variation 2) -</em> <strong>Musik:</strong> Rasmus Mannervik</p><p><em>Kärlekens visa -</em> <strong>Musik:</strong> Rasmus Mannervik, <strong>Text:</strong> Pär Lagerkvist</p><p><em>Tyst Koral (variation 3) - </em><strong>Musik:</strong> Rasmus Mannervik</p><p></p><p>Musiker:</p><p>Rasmus Mannervik - Piano</p><p>Hannes Arasson - Trumpet</p><p>Fredrik Ljungkvist - Saxofon och Klarinett</p><p>Maja Svantesson - Sång</p><p></p><p>Till detta bifogas en ljudupptagning från konserten 18/03-24</p>