Profiles

Johanna Ethnersson Pontara, forskare och lärare i musikvetenskap vid Stockholms universitet.

Johanna Ethnersson Pontara

Docent

Visa sidan på svenska
Works at Department of Culture and Aesthetics
Telephone 08-16 19 52
Email johanna.ethnersson.pontara@music.su.se
Postal address Institutionen för kultur och estetik 106 91 Stockholm

About me

Associate Professor in Musicology. Postdoc scholarship 2007-02-01 – 2008-01-31: Il Dipartimento di Musica e Spettacolo, Alma Mater Studiorum Università di Bologna Born 1972; Ph. D. 2003

Her research has focused on opera with particular emphasis on performance theory and the representation of gender. She is currently working on the research project Classical music for a mediatized world: visual and audio-visual representations of Western art music in contemporary media and society.

Specializations:

  • Early modern opera and 18th century opera
  • Opera post 1960
  • Performance theory
  • Gender theory
  • Baroque Musical Aesthetics

Read Johanna´s article Music as Mimetic Representation and Performative Act at musikforskning.se

Publications

A selection from Stockholm University publication database
  • 2018. Johanna Ethnersson Pontara. The Power of the In-Between, 49-74

    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.

  • 2017. Johanna Ethnersson Pontara. Act (7)

    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.

  • 2014. Johanna Ethnersson Pontara. Svensk tidskrift för musikforskning 96 (2)

    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.

  • Article Music as Excess
    2013. Johanna Ethnersson Pontara. STM-Online 16

    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’.

  • 2012. Johanna Ethnersson Pontara. A History of Emotions 1200-1800
  • 2008. Johanna Ethnersson. STM-Online 11, 43

    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.

Show all publications by Johanna Ethnersson Pontara at Stockholm University

Last updated: October 2, 2018

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