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  • 1.
    Balogh, Alexandra
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Aniara - en revy om människan i tid och rum: Stil som meningsbärare2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The opera Aniara by Karl-Birger Blomdahl premiered in 1959 and gained much attention forcombining its general serial style with other musical stylistic elements, as it alludes to and citesworks of other styles such as romanticism and jazz. This circumstance was considered amongother things to have led to Aniaras success, as it made the modernistic music more accessible to ageneral audience. I analyse two scenes in Aniara which contain allusions to and citations ofEllington's Ko-ko, Alfvén's Midsommarvaka, Shostakovich's Fifth Symphony, Beethoven's Ninthand the Swedish psalm Tryggare kan ingen vara regarding their intertextual meanings andaccording to Claudia Gorbman's theory of narrativity in film music. The overall function of theallusions and citations is to describe the conflicting emotions and mental states of the people ofthe spaceship Aniara: how they react to the occurring events during their voyage in space andtheir lack of hope. The intertextual references deepen the understanding of the narrative, and thesections with allusions are perhaps comparable to the aria in 1800th century opera, while themainly modernistic passages have a function similar to the drama-propelling recitative. Stylisticdiversity was not new in 20th century opera at the time of Aniara's premiere, however, the clearintertextuality of Blomdahl's allusions in service of narrative can be seen as ahead of its time.

  • 2.
    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.

  • 3.
    Ryttare, Patrik
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Bo Hanssons Sagan om Ringen: En receptionshistorisk studie2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Denna studie utreder de motstridiga uppgifter som idag förekommer om Bo Hanssons mest framgångsrika album Sagan om Ringens reception i Sverige efter att den gavs ut december 1970. Dess genomslag har i dagens relativt knapphändiga receptionsmaterial beskrivits som en omedelbar succé men samtidigt som enbart måttlig. Studien innefattar huvudsakligen insamlade och granskade historiska primärkällor i form av dags- och kvällstidningsartiklar från Sveriges fyra största tidningar och styrs av en huvudfråga och en följande bifråga: I vilken omfattning omskrevs verket och hur formulerades receptionen i dåtidens svenska press? Bifrågan grundas i utsagor om en särställning som Bo Hansson idag anses ha erhållit jämte sin samtida sociokulturella kontext, nämligen sjuttiotalets svenska Musikrörelse även kallad Proggrörelsen. Studien föranleds av ett biografiskt bakgrundsavsnitt och avrundas med en kort biografisk epilog som syftar till att stärka läsarens helhetsförståelse av uppsatsens centrala artikelstudie. En summering med slutledningar och övriga iakttagelser presenteras i en avslutande diskussion som kan konstatera att det inte förelåg en omedelbar medial uppmärksamhet kring Sagan om Ringen i Sverige och att svensk press först började omskriva verket efter dess banbrytande internationella genomslag två år senare. Tecken på en viss konstnärlig särställning kring Bo Hansson framkommer i artikelstudien och exemplifieras ytterligare i slutdiskussionen. 

  • 4.
    Tillman, Joakim
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    "Drottningens juvelsmycke" som postmodern opera: Vad musiken har att säga till om i Lars Johan Werles "Tintomara"2010In: Dramatikern Almqvist / [ed] Anders Burman, Roland Lysell och Jon Viklund, Hedemora: Gidlunds förlag , 2010, p. 204-218Chapter in book (Other academic)
  • 5.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Francesco Antonio Uttini (1723-1795)2015Other (Other academic)
    Abstract [sv]

    Francesco Antonio Baldassare Uttini, född i Bologna 1723 och död i Stockholm 25 oktober 1795, var tonsättare och kapellmästare, verksam i Sverige från 1755. Han kallades till Stockholm av drottning Lovisa Ulrika för att komponera och framföra italiensk opera seria vid hovet. För den nybyggda slottsteatern på Drottningholm komponerade han fyra operor. Uttini blev hovkapellmästare 1767. Av Gustav III fick han uppdraget att komponera den första operan på det svenska språket, Thetis och Pelée (1772).

  • 6.
    Wållberg, Per Emil
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Franska och italienska formtyper i den svenska nationaloperan Gustaf Wasa: Examensarbete i musikvetenskap vid Institutionen för Kultur och Estetik på Stockholms Universitet under höst-terminen 2016.2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Examensarbete på kandidatnivå om den svenska nationaloperan Gustaf Wasa. Arbetet går igenom operans olika formtyper och kategoriserar dessa, såsom rent fransyska, italienska, eller allahanda kombinationsformer deremellan.

  • 7.
    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’.

  • 8.
    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)
  • 9.
    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.

  • 10.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Musik som upplevelse och historisk representation i barockens opera: Några tankar kring den performativa och kontextualiserande tolkningsakten2010In: Det åskådliga och det bottenlösa: Tankar kring konst och humaniora tillägnade Margaretha Rossholm Lagerlöf / [ed] Peter Gillgren, Stockholm: Konstvetenskapliga institutionen , 2010, p. 220-225Chapter in book (Other academic)
  • 11.
    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.

  • 12.
    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.

  • 13.
    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.

  • 14.
    Ethnersson Pontara, Johanna
    et al.
    Stockholm University.
    Tillman, Joakim
    Stockholm University.
    Puccini's Tosca and the narrative and performative aspects of music in opera2017Conference paper (Other academic)
    Abstract [en]

    Research on opera was for a long time focused on either structural or symbolic aspects of the music. The purpose of this investigation is to broaden opera analysis by paying attention to the double role played by music in opera, the narrative and the performative. Drawing on theoretical approaches of film music analysis and performance theory it attempts to develop a method of analysis that takes both of these aspects into consideration. With point of departure in Puccini’s Tosca the paper demonstrates how this double role of the music plays a significant role for the construction of meaning in relation to verbal and visual media.

  • 15.
    Nehrfors Hultén, Mårten
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Shaping the nation with song: Johann Friedrich Reichardt and the German cultural identity2018Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The primary aim of this dissertation is to study the nationalistic worldview as it emerged in the German lands in the second half of the eighteenth century . The research focuses on how this influenced the artistic practices of Prussian composer, writer and court Kapellmeister Johann Friedrich Reichardt (1752–1814), and likewise how Reichardt’s activities influenced and formed this field. Reichardt was one of the musicians most actively involved in the development of this field at the time, both as a composer and as a writer. The nationalistic view that a society ought to have as its foundation a common cultural identity, and that this identity should be the guiding principle for organization and government, was groundbreaking at the time. In line with this Reichardt’s ambition involved a transformation of the composer’s/musician’s role in society, turning music into a means to influence and alter the state. As the dissertation shows, this was done in a variety of ways. Above all Reichardt was advocating, and helped shape, a German national cultural identity. This identity he sought to induce in the people, for instance through songs composed specifically for children.

    The study focuses on a variety of sources, above all a selection of Reichardt’s writings, songs and song collections. These are subjected to a substantial discourse analysis. Following the conviction that a discourse is formed and expressed not just in writing, but also in musical compositions, musical practices, institutions et cetera, the analytical approach vary throughout the study, depending on the researched material. Identified in the analyses are things and signs that point towards a new nationalistic system of meaning.

    Following a chapter on the historical background, including an analysis of Herderian nationalism, an exposition of the idea of expressive communities, and an account of Reichardt’s biography, the analytical part of the study is divided into two parts, dealing with two different kinds of music and fields of musical application. The first is devoted to music for the community, used in private and semi-private company. Here it is shown how Reichardt contributed to the formulation of a German national musical style founded on folksong ideals and the concept of Volkston. The second is devoted to music for school and education and study the strong interest and belief in education that characterized the eighteenth century, and which Reichardt fully embraced. Here Reichardt’s views on education, and their importance for his activities, are examined.

    A secondary aim of the study is the theoretical development of the concept expressive communities. This is founded on a central view of Johann Gottfried Herder’s (1744–1803) that acknowledges a natural expressive desire in man. On a community-level this leads to the cultural identity (national or other) being characterized by a particular expressiveness, and being acquired through an active cultural practice. This view is particularly applicable when regarding the late eighteenth century German lands.

    One result of the study is a better understanding of Reichardt’s activities and works. At the same time, as Reichardt was not the only one involved with the emerging nationalistic ideas, the study serves also as an example and its results are valid on a wider scale, providing a more nuanced understanding of the period on the whole.

  • 16.
    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)
  • 17.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Intersection between Film and Opera in the 1960s: Ingmar Bergman’s Hour of the Wolf as an Example of Formal Imitation2018In: The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection / [ed] Sonya Petersson, Christer Johansson, Magdalena Holdar, Sara Callahan, Stockholm: Stockholm University Press, 2018, p. 49-74Chapter in book (Refereed)
    Abstract [en]

    The topic of this article is the intersection between media genres in 1960s Sweden. In a case study of Ingmar Bergman’s Hour of the Wolf (1968) it is shown how the music contributes to intermedial qualities through the film’s connection with opera. It is argued that the film, by how the music is related to sound effects and images, can be seen as an example of formal imitation. The imitation of opera is created through technical media of film, such as foregrounding of media in the audio-visual space, and manipulations of sounds, music, and images. Of special interest is how, by alternating between synchronicity and counterpoint between images, sound effects, and music, Bergman attracts attention to the media as visual and sonic experiences and creates formal structures that deviate from the overall character of the film. The intermedial dimension of the film revealed by the analysis is contextualized in relation to the historical discussion of mixed versus pure medialities. The film is seen in the light of an interest in media genre mixedness versus media genre specificity in 1960s Sweden.

1 - 17 of 17
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