abstract: This study articulates a framework of writing strategies and validates the framework by using it to examine the writing process of researchers as they write journal articles for publication. The framework advances a definition of writing strategies and a classification system for categorizing strategies that is based on strategic goals. In order to develop the framework, I first synthesize existing literature on writing strategies found in second language writing studies, composition studies, and second language acquisition. I then observe the writing process of four researchers as they write journal articles for publication and use the framework to analyze participants’ goals, their strategies for accomplishing goals, the resources they use to carry out strategies, and the variables that influence their goals and strategies. Data for the study was collected using qualitative methods, including video recordings of writing activities, stimulated-recall interviews, questionnaires, and semi-structured interviews. The study shows that the framework introduced in the study is useful for analyzing writers’ strategies in a comprehensive way. An operationalizable definition of ‘writing strategies’ is the conscious and internalized agentive ideas of a writer about the best way to act, often with the use of resources, in order to reach specific writing goals embedded in a context. Writing strategies can be categorized into seven types of strategic goals: composing, coping, learning, communicating, self-representation, meta-strategies, and publishing. The framework provides a way to understand writing strategies holistically—as a unit of goal, action, and resource—and highlights variability in writers’ actions and use of resources. Some of this variability in writers’ strategies can be explained by the influence of various contextual factors, which are identified in the analysis. The dissertation concludes with a discussion of how the framework can be used to inform future research and classroom teaching on writing strategies. / Dissertation/Thesis / Doctoral Dissertation Applied Linguistics 2016

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.

The purpose of this project is to use different improvisational and compositional methods to compose music for a duo, trio, and a quartet. The goal is to explore the possibilities of each setting regarding the different improvisational methods and if it has an impact on decision making as an improviser. One of the factors of changing the setting is the possibilities of the various roles of each musician in each arrangement.   The combination of the ensembles:  Duo: Tenor saxophone and drums. Trio: Tenor saxophone, drums, and bass. Quartet: Tenor saxophone, drums, bass, and guitar.  Three improvisational methods will be compared to each other:  Improvisation through a melody, without written chords.  Improvisation over a traditional form: Melody – solos over written chords – melody.  Collective improvisation.  Compositional methods: Open arrangements. Using the main instrument to compose.  There will be a discussion about the different roles of the musicians in each setting and how the roles may affect the arrangements in various ways. One of the factors is to avoid the common roles as an accompanist and a melody instrumentalist in each setting. Two of the settings do not include a chord instrument and that will lead to a certain role for me as a saxophonist along with the different roles of the rhythm section. There were six rehearsals planned in total, followed by an examination concert in Nathan Milsteinsalen, Kungl. Musikhögskolan on February 23rd. / <p>Björgvin Ragnar Hjálmarsson - Tenorsaxofon</p><p>Bjarni Már Ingólfsson - Gitarr</p><p>Johan Tengholm - Kontrabas</p><p>Henrik Jäderberg - Trummor</p>

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