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  • 1.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    En operaglimt av det offentliga samtalet2003In: Nutida Musik/Tritonus, no 3, p. 10-11Article in journal (Other (popular science, discussion, etc.))
  • 2.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Gunhild Karle: Kungl. Hovkapellet i Stockholm och dess musiker 1772-18182001In: Svensk tidskrift för musikforskning, p. 115-117Article, book review (Other academic)
  • 3.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Leilei Tian: När kontroll ställs mot frihet och struktur mot fantasi2006In: Nutida musik, no 1, p. 22-26Article in journal (Other (popular science, discussion, etc.))
  • 4.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Metastasiansk opera i Lovisa Ulrikas Sverige: En studie av fyra drammi per musica av Arvid Niclas von Höpken och Francesco Antonio Uttini2003Doctoral thesis, monograph (Other academic)
  • 5.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Music as mimetic representation and as performative act2008In: 15th Nordic Congress of Musicology, Oslo 5-8 augusti 2008, 2008Conference paper (Other academic)
  • 6.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Music as mimetic representation and performative act: Semiramide riconosciuta and musical construction of sexuality and gender2008In: STM-Online, Vol. 11, p. 43-Article in journal (Refereed)
    Abstract [en]

    The purpose of this article has been to investigate the question of the musical construction of sexuality and gender in the opera Semiramide riconosciuta (Venice 1745), set by Johann Adolf Hasse to the drama by Pietro Metastasio. Apart from analysing the music in relation to the drama, the method has been to analyse and to interpret the music in relation to the concept of performativity. The investigation has consisted of a comparative analysis between the two main characters in the opera, and between the two singers performing these characters.

    At the two high points of the performance, when the audience most likely were attentive to what happened on stage, there seems to have been a performative manifestation of the two main characters musically. The singers did different things to audience and the audience did different things to the singers and indirectly also to the musical constructions of the characters. In this way Hasse, who provided the singers with vocally suitable material, musically confirmed the message of Metastasio's drama: woman connected with passion and man connected with reason.

  • 7.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Musik, kön och genus i Händels Julius Caesar2006In: Tidig musik, ISSN 1400-5123, no 3, p. 12-17Article in journal (Other academic)
  • 8.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Opera seria and Musical Representation of Gender2006In: Twelfth Biennial Conference on Baroque Music, Warszawa 26 30 juli 2006, 2006Conference paper (Refereed)
    Abstract [en]

    In what ways can musical representation be said to correspond to general ideas about gender during the first half of the 18th century? An investigation of musical representation of characters in the Italian genre opera seria has resulted in the hypothesis that music was an important means to reflect contemporary ideas of power and gender. An opera seria consists of a number of musical styles connected to specific affects, situations and characters in the drama. In Georg Friedrich Händel’s Giulio Cesare (1724) the musical construction of the two main characters Giulio Cesare and Cleopatra appears to be an indication of contemporary ideas concerning gender. Whereas the hero is tied to a traditional ideal the heroine does not follow a specific pattern regarding musical styles. The freedom concerning constellation of affects as well as musical styles may be due to her position as main character and as a woman. She is not as the primary male character and the secondary characters connected to a conventional pattern in the frame of a ceremonial rhetoric.

  • 9.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Opera seria och musikalisk representation av genus2005In: STM-Online, ISSN 1403-5715; 2005 (8), Vol. 8, p. 24-Article in journal (Refereed)
    Abstract [sv]

    How can music be said to represent contemporary ideas about gender during the first half of the eighteenth century? This article is an investigation of musical representation of the main characters in George Frideric Handel’s opera seria Giulio Cesare (1724) from the viewpoint of a historical interpretation of gender. Indeed, music was an important means to reflect contemporary ideas of male and female.

    Cesare and Cleopatra are two noble characters in the opera. Handel uses different affects for each of them due to their different status and, indirectly, to their different genders. Handel also differentiates between the two characters when using the same musical affect. Cesare is a hero and is portrayed as a heroic character using the customary constellation of affects and a musical representation. Cleopatra, on the contrary, is more complex. Her femininity is expressed in three character types: the thoughtless woman, the loving seductress, and the lamenting victim. Handel goes further, allowing Cleopatra to dress up as a heroic, triumphant character, mirroring the character of Cesare himself. This is reflected in the music too, but Handel combines the heroic style with motifs and affects associated with Cleopatra as a feminine character. Traditionally the leading male characters have a conventional pattern and framework of ceremonial rhetoric through which to express their heroism. As a woman Cleopatra is free from these conventions and although she is a main character she could never become a heroic hero. Handel exploits this contradiction musically, giving her a broader palette of affects and wider musical representation than to a conventional male hero.

  • 10.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Opera som politiskt maktmedel i Lovisa Ulrikas Sverige2003In: Tidig musik, ISSN 1400-5123, no 4, p. 22-26Article in journal (Other academic)
  • 11.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Situation comedy and irony in Il re pastore2004In: W. A. Mozart Il re pastore, konvoluttext: Adam Fischer, The Danish Radio Sinfonietta, The Danish Radio, Copenhagen , 2004, p. 45-47Chapter in book (Other (popular science, discussion, etc.))
  • 12.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Sommarens operasvep: Den nyskrivna operan och det historiska rummet2004In: Nutida Musik, no 2, p. 54-56Article in journal (Other (popular science, discussion, etc.))
  • 13.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Sport, videoprojektioner och interaktivitet: Reflektioner över ny opera2005In: Nutida Musik, no 1, p. 44-45Article in journal (Other (popular science, discussion, etc.))
  • 14.
    Ethnersson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Tidsresor, dröm och verklighet: I den samtida operan citeras musikhistorien2003In: Nutida Musik/Tritonus, ISSN 1652-005X, no 2, p. 17-21Article in journal (Other academic)
  • 15.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Arvid Niclas von Höpken (1710-1778)2013Other (Other academic)
    Abstract [sv]

    Arvid Niclas von Höpken, född i Stockholm 7 juli 1710, död i Stralsund 28 juli 1778. Adelsman och militär. Överstekommendant på fästningen i Stralsund 1777−78. von Höpken bedrev kompositions- och kopistverksamhet. Han komponerade italiensk opera seria som stilistiskt är jämförbar med samtida operor av viktiga representanter för genren som Johann Adolf Hasse och Carl Heinrich Graun. Hans tonsättning av Pietro Metastasios Il re pastore är en av de tidigaste kända tonsättningarna av detta libretto.

  • 16.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Music as Excess: Die Reise and Neo-Baroque Aesthetics in Opera from the 1960s2013In: STM-Online, ISSN 1403-5715, E-ISSN 1403-5715, Vol. 16Article in journal (Refereed)
    Abstract [en]

    Lars Johan Werle’s and Lars Runsten’s opera Die Reise (Hamburg 1969) is characterized by pluralism of musical styles. The focus in this article is on how the pluralism is related to the other media in the opera, and what effects it is expected to have on the audience in the performance situation. My claim is that the stylistic pluralism is manifested in ways that connects the opera to the neo-baroque aesthetics that has been brought forth by scholars such as Omar Calabrese, Angela Ndalianis, and Cristina Degli-Esposti. It is a device that disrupts the narrative by way of attracting the attention of the audience. With an abundance of figurative representation, the music makes Die Reise an opera of ‘excess’.

  • 17.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Music as wonder and delight: construction of gender in early modern opera through musical representation and arousal of emotions2012In: A History of Emotions 1200-1800: / [ed] Jonas Liliequist, London: Pickering & Chatto, 2012Chapter in book (Refereed)
  • 18.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Musical narration, performance and excess: the creation of horror in the Swedish opera Tintomara by Lars Johan Werle2017In: Act: Zeitschrift für Musik & Performance, ISSN 2191-253X, E-ISSN 2191-253X, no 7Article in journal (Refereed)
    Abstract [en]

    Johanna Ethnersson Pontara examines the different layers in the opera Tintomara by Lars Johan Werle and Leif Söderström (Stockholm 1973), based on the short story The Queen's Jewel by Carl Johan Love Almqvist. Pontara’s thesis claims that the opera's message is expanded by the composition technique. By assembling the different styles Werle brings the relationship between narration and performance to oscillation. He uses his experience as a film music composer to create shock effects, such as those caused by the music in horror films, in order to perform them on the listeners' bodies. Ethnersson Pontara applies film theories to reveal how the orientation and disposition of the hermaphrodite Tintomaras is undermined by the power disparities between male subjects and female objects as they are traditionally represented in romances, porn and horror films.

  • 19.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology. Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Musikalisk narrativitet och performativitet i Lars Johan Werles arenaopera Drömmen om Thérèse2014In: Musikforskning idag: Växjö, 11-13 juni 2014, 2014Conference paper (Other academic)
    Abstract [sv]

    Under 1960-talet väckte Lars Johan Werles och Lars Runstens opera Drömmen om Thérèse uppmärksamhet både nationellt och internationellt för sin utformning som arenaopera. Denna scenkonstruktion påverkade också musikens roller. Operan utgör exempel på 1960-talets fascination för det gränsöverskridande, mellan högkultur och populärkultur och liveframförande kontra inspelningsteknik. Denna presentation visar hur den performativa aspekten av musik i opera här får en speciell karaktär genom användandet av tekniker som stilpluralism, musik i rummet och instrumental teater. Dessa tekniker påverkar den spektakulära sidan av musik i opera, som kommer att handla om teatral distansering snarare än om berusning. Till denna effekt bidrar även upphovsmännens idéer om intimitet, jämlikhet och reflektion.

  • 20.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Narrative and performative modalities in the Swedish opera-in-the-round Dreaming about Thérèse2014In: Svensk tidskrift för musikforskning, ISSN 0081-9816, STM-SJM, ISSN 2002-021X, Vol. 96, no 2Article in journal (Refereed)
    Abstract [en]

    The Swedish opera Drömmen om Thérèse (Dreaming about Thérèse) attracted national and international attention in the 1960s for its inventive approaches as an opera-in-the- round. Although this staging influenced the music’s functions, so far the music of this opera has been evaluated in accordance with the hegemony of narrative opera. Drömmen om Thérèse, however, offers an example of a contemporary fascination with exploring the spaces between borders, for instance, high versus popular culture and event performance versus recording. This article shows how the performative level of music in opera here acquires a particular quality through the incorporation of the devices of pluralism of styles, music in space and instrumental theatre. Rather than intoxication, the narrative- disrupting effect consists of a theatrical alienation. A relationship between performance and audience based on intimacy, equality, and reflection contributes to this effect.

  • 21.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Opera Seria as a Site of Movement and Arrest2014Conference paper (Other academic)
    Abstract [en]

    The paper focuses on Italian opera from the early eighteenth century and provides images of how the site of the historical performance generated experiences of movement and arrest through visual, aural and verbal media. Inspired by Erika Fischer-Lichte's performative aesthetics, and American musicologist Martha Feldman's performative model predicated upon ritual practices, this kind of opera is seen in the light of two kinds of sites: the imaginary site represented on stage, on the one hand, and the site of the performance, on the other.

  • 22.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Experience of the Vocal Performance in the Sevententh Century: An Interchange between Reality and Fiction2017Conference paper (Other academic)
1 - 22 of 22
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