Ragnhild Brøvig-Hanssen

Associate Professor in Popular Music Studies
Image of Ragnhild Brøvig-Hanssen
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Phone +47-22854852
Room V-02-16
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Visiting address RITMO Forskningsveien 3A 0373 OSLO Norway
Postal address RITMO P.O. Box 1133 Blindern 0318 Oslo Norway

Ragnhild Brøvig-Hanssen is Associate Professor in Popular Music Studies in the Department of Musicology, and in RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, at the University of Oslo, Norway. She has published articles and book chapters on music production, digital media, remix- and mashup culture, rhythm and groove, and sound studies, and is the author of Digital Signatures: The Impact of Digitization on Popular Music Sound (with Anne Danielsen, MIT Press, 2016). She is currently leading a RCN-funded project on mashup music, internet platforms, and copyright regulation (MASHED), as well as a RITMO-project on musical fragmentation (REMIXING TIME). She has previously been part of two research projects on rhythm at UiO (TIME and RADR).

Key competence and tutoring topics

  • Sampling and Remixing
  • Popular Music
  • Music Production
  • Music and Digital Technology
  • Rhythm and Groove
  • Sound Analysis
  • Cut-and-Paste and Glitch Aesthetics
  • Music and Internet Platforms
  • Sampling and Copyright Exceptions
  • Music and Humor, Parody and Politics
  • Music Aesthetics
  • Music and Culture
  • Music and Media

Current Research Activities

Principal investigator of MASHED: Mashup Music, Copyright, and Platform Regulation (RCN-FRIHUMSAM Young Research Talents). Project period: 2018–2021.

Project member of TIME: Timing and Sound in Musical Microrhythm (RCN-TOPPFORSK). Project period: 2016-2022.

Leader of the research project Remixing Time at RITMO Centre for Interdisciplinary Studies of Rhythm, Time and Motion (RCN Centre of Excellence)

Tags: Popular music, Music technology, Music and media, music analysis, music history

Publications

Books:

Brøvig-Hanssen, Ragnhild, and Anne Danielsen, 2016. Digital Signatures: The Impact of Digitization on Popular Music Sound. MIT Press.

 

Articles and Book Chapters:

Brøvig-Hanssen, Ragnhild, Bjørnar E. Sandvik, and Jon Marius Aareskjold. Forthcoming. “Dynamic Range Processing’s Influence on Perceived Timing in Electronic Dance Music.” Under review.

Brøvig-Hanssen, Ragnhild, Bjørnar E. Sandvik, Jon Marius Aareskjold, and Anne Danielsen. Forthcoming. "The Organic Grid: Sound and Timing in Electronic Dance Music." Under review.

Johanssen, Mats, Anne Danielsen, Ragnhild Brøvig-Hanssen, and Bjørnar E. Sandvik. Forthcoming. "Shaping Rhythm: Timing and Sound in Five Rhythmic Genres." Under review.

Brøvig-Hanssen, Ragnhild and Aram Sinnreich, forthcoming 2020 (accepted). "Do You Wanna Build a Wall? Remix Tactics in the Age of Trump." Popular Music & Society, 43/5.

Brøvig-Hanssen, Ragnhild, 2019 (in press). “Humor's Role in Mashups and Remixes.” In On Popular Music and Its Unruly Entanglements, eds. Nick Brae and Kai Arne Hansen. Palegrave Macmillan. 

Brøvig-Hanssen, Ragnhild, Bjørnar E. Sandvik, and Jon Marius Aareskjold, forthcoming 2019. "Influence du traitement de plage dynamique sur le rythme perçu [perceived timing] dans l’EDM.” In L'Interaction dans la musique. Son, geste, dispositifs dans les musiques électroniques et électroacoustiques (Collection Aesthetica). Presses universitaires de Rennes. 

Brøvig-Hanssen, Ragnhild, 2019. “Mixing with Quotations: Mashups and Contextual Transformation.” In The Art of Record Production: Creative Practice in the Studio, Volume 2, eds. Simon Zagorski-Thomas, Katia Isakoff, Sophie Stévance, and Serge Lacasse, pp. 50–65. Oxon/New York: Routledge.

Brøvig-Hanssen, Ragnhild, 2018. "Listening To or Through Technology: Opaque and Transparent Mediation in Popular Music." In Critical Approaches to the Production of Music and Sound, eds. Samantha Bennett and Eliot Bates, pp. 195–210. New York/London: Bloomsbury Academic.

Brøvig-Hanssen, Ragnhild, and Anne Danielsen, 2017. "Music Production: Recording Technologies and Acousmatic Lisetning." In Routledge Companion to Music Cognition, eds. Richard Ashley and Renee Timmers. New York: Routledge.

Brøvig-Hanssen, Ragnhild, 2016. “Justin Bieber featuring Slipknot: Consumption as Mode of Production.” In Music and Virtuality, eds. Sheila Whiteley and Shara Rambarran. Oxford: Oxford University Press.

Brøvig-Hanssen, Ragnhild, 2013. Music in Bits and Bits of Music: Signatures of Digital Mediation in Popular Music Recordings. PhD diss., University of Oslo.

Brøvig-Hanssen, Ragnhild, and Anne Danielsen, 2013. “The Naturalised and the Surreal: Changes in the Perception of Popular Music Sound.” Organised Sound 18/1, pp. 72–81.

Brøvig-Hanssen, Ragnhild, 2013. “The Magnetic Tape Recorder: Recording Aesthetics in the New Era of Schizophonia.” In Material Culture and Electronic Sound, eds. Frode Weium and Tim Boon, pp. 131–57. Washington, D.C.: Smithsonian Institution Scholarly Press/Rowman and Littlefield Publishers.

Brøvig-Hanssen, Ragnhild, and Paul Harkins, 2012. “Contextual Incongruity and Musical Congruity: The Aesthetics and Humour in Mash-Ups.” Popular Music 31/1, pp. 87–104.

Brøvig-Hanssen, Ragnhild, 2010. “Opaque Mediation. The Cut-and-Paste Groove in DJ Food’s ‘Break.’” In Musical Rhythm in the Age of Digital Reproduction, ed. Anne Danielsen, pp. 159–75. Farnham, Surrey: Ashgate.

Brøvig-Andersen, Ragnhild, 2007. “Musikk og mediering: Teknologi relatert til sound og groove i trip-hop-musikk.” MA thesis, Department of Musicology, University of Oslo.

 

Selected Presentations:

"Humor, Parody, and Mashup Music," peer-reviewed paper at the annual conference of the International Society for Humor Studies (ISHS), University of Texas at Austin, USA, June 24–28, 2019.

"Do You Wanna Build a Wall? Remix Tactics in the Age of Trump," peer-reviewed paper, in cooperation with Aram Sinnreich (Am. Uni, USA), at the 69th annual International Communication Association (ICA) conference (Theme: Communication Beyond Boundaries), Washington D.C., USA, 24-28 May 2019. 

Invited speaker on the plenary panel "Methodology Panel 3.0: Technology in Record Production Research: Object, Subject, Variable and Data Collection Tool," with Nyssim Lefford, Catherine Provenzano, Paul Théberge, and Alan Williams, at the annual international Art of Record Production (ARP) conference, Berklee College of Music, Boston,USA, May 17-19, 2019

"Vocal Chops and its Aesthetic," peer-reviewed paper, in cooperation with Jon Marius Aareskjold (UiA, Norway), at the annual international Art of Record Production (ARP) conference (Theme: In C: Creation, Connectivity, Collaboration and Controllers), Berklee College of Music, Boston,USA, May 17-19, 2019

"Do You Wanna Build a Wall? Remix Tactics in the Age of Trump," peer-reviewed paper, in cooperation with Aram Sinnreich (Am. Uni, USA), at the Crosstown Traffic Conference (IASPM, ASARP, Dancecult, ISMMS), Univ. of Huddersfield, England, Sept 2018

"EDM Producer's Reflections on Groove," peer-reviewed paper, in cooperation with Bjørnar Sandvik (UiO, Norway) and Jon Marius Aareskjold (UiA, Norway), at the Crosstown Traffic Conference (IASPM, ASARP, Dancecult, ISMMS), Univ. of Huddersfield, England, Sept 2018

Invited speaker on the book launch of "Live and Recorded: Music Experience in the Digital Millennium" (Palegrave Macmillan, 2018) by Yngvar Kjus, University of Oslo, April 6, 2018.

“Dynamic Range Compression’s Influence on Perceived Timing in EDM music,” peer-reviewed paper, in cooperation with Bjørnar Sandvik (UiO, Norway) and Jon Marius Aareskjold (UiA, Norway), at the international Art of Record Production (ARP) conference, Stockholm Univ., Sweden, Dec 2017

“Does Compression Influence Timing? A Case Study in EDM Music,” in cooperation with Bjørnar Sandvik (UiO, Norway), invited plenary presentation at the international conference Interacting in and with Music (Interact), Rennes 2 Univ., France, Oct 2017

“Mashups, Politics, and Humor Theories,” invited guest lecture at School of Communication, American Univ., Washington, D.C., April 2017

Invited speaker on the plenary panel “Music and Virtuality” at the international Art of Record Production (ARP) conference, Aalborg Univ., Denmark, Dec 2016                           

Plenary presentation of the book Digital Signatures at the international Art of Record Production (ARP) conference, Aalborg Univ., Denmark, Dec. 2016

“Music Production: Recording Technologies and Acousmatic Listening,” peer-reviewed paper, in cooperation with Anne Danielsen (UiO, Norway),  at the international Art of Record Production (ARP) conference, Aalborg Univ., Denmark, Dec 2016

“Musical Recycling: Mashup Aesthetics and Authorship.” Paper delivered at the international Association of Internet Research (AoIR) conference, Humboldt-Universität zu Berlin, Germany, October 2016.

"Mashups as Interpretative Musical Comments." Paper delivered at the 10th international Art of Record Production (ARP) conference, Drexel University, Philadelphila, November 2015.

“Consumption as Mode of Production.” Paper delivered at the 8th international Art of Record Production (ARP) conference, Université Laval, Quebéc, July 2013.

“Recording as Virtual Environments: Towards a Framework for Analysing the Sound of Popular Music.” Paper delivered in collaboration with Anne Danielsen (UiO, Norway) at the 6th international Art of Record Production (ARP) conference, Leeds Metropolitan University, December 2010.

“The Strange Delights of ‘The Whipped Cream Mixes’: The aesthetics, humour and tradition of mash-ups.” Paper delivered in collaboration with Paul Harkins (Edinburgh Uni, UK) at the 6th international Art of Record Production (ARP) conference, Leeds Metropolitan University, December 2010.

“Opaque Mediation as an Aesthetic Ideal.” Paper delivered at the annual International Association for the Study of Popular Music (IASPM) conference, Liverpool, July 2009.

“Opaque Mediation: An exposure of cut-and-paste in Electronica.” Paper delivered at the 4th international Art of Record Production (ARP) conference, University of Lowell (Boston), November 2008.

“Opaque Mediation as Part of the Composition - a study of Portishead’s music.” Paper delivered at the international Rhythm in the Age of Digital Reproduction (RDR) conference, University of Oslo, October 2006.

“Groove in Trip-hop Music.” Paper delivered at the international Rhythm in the Age of Digital Reproduction (RDR) conference, University of Oslo, September 2005.

Published Mar. 15, 2013 2:32 PM - Last modified Sep. 3, 2019 7:38 AM