I am Professor of Popular Music Studies at the University of Oslo. My research combines popular music analysis with cultural studies and media theory, with particular emphasis on music production, sound, rhythm, sampling, and music technologies.
I am involved in the Norwegian research centres MishMash – Centre for AI and Creativity; RITMO – Centre for Interdisciplinary Studies in Rhythm, Time and Motion; and CreaTeME – Creative use of Technologies in Music Education. I am a Visiting Professor at the Centre for Research in Music and its Technologies at the University of Huddersfield and previously held an adjunct professorship at the University of Agder. I have also been a visiting scholar at University of Edinburgh, Columbia University, and American University. I was involved in the founding of SPMR (Society for Music Production Research), where I currently serve as assistant editor of its journal.
My research has focused on how production technologies leave audible traces in music through fragmentation, glitches, samples, manipulated voices, and other forms of technologically mediated sound. I have been particularly interested in remix culture, platform governance, content moderation, copyright, and authorship – an interest that informed the Research Council of Norway funded project MASHED: Mashup Music, Copyright, and Platform Regulation, which I led from 2018–2021. I have also worked extensively on rhythm, timing, and sound through the RCN-funded projects TIME: Timing and Sound in Musical Microrhythm (Toppforsk; 2016–2023), and Rhythm in the Age of Digital Reproduction (FRIPRO; 2004–2010), both led by Anne Danielsen. More recently, my research has expanded to questions related to AI and the sustainability of music cultures and industries.
I am the author of the monographs Parody in the Age of Remix: Mashup Creativity vs. the Takedown (2023) and Digital Signatures: The Impact of Digitization on Popular Music Sound (with Anne Danielsen, 2016), both published by MIT Press. I am currently co-editing The Oxford Handbook of Sampling (with A. Danielsen, P. Harkins, and N. Prior; forthcoming 2027). My research has appeared in journals including Popular Music, New Media & Society, Popular Music & Society, Music Theory Spectrum, Music Theory Online, Music Perception, Organised Sound, and The Journal of Music Production Research.
I have supervised numerous Master’s students, 6 PhD candidates, and 6 postdoctoral researchers, including Marie Skłodowska-Curie-funded postdoctoral research (ERC). I have also been engaged in research training and career development initiatives at the University of Oslo. My teaching covers popular music studies, music technologies and their musical and cultural impact, sound- and groove-based music analysis, music and media, and research methodology.
Before becoming Professor at the University of Oslo in 2021, I completed my PhD there in 2013 and was hired as Associate Professor in 2015 after a short postdoctoral period. Alongside my academic work, I remain engaged in music production and other forms of artistic practice.
Please visit my personal research website at www.ragnhildbrovig.com
Key competence and tutoring topics
- Popular music, hip-hop, electronic music, remix, sampling, glitch
- Music production, rhythm, groove and sound
- Digital technology, new media, platformisation, AI
- Intertextuality, authorship and copyright
- Humor, parody and politics
- Cultural theory and critical analysis
- Music analysis and music culture
- Music entrepreneurship
Tags:
Popular music,
Music technology,
Music and media,
music analysis,
music history
Publications
Books and PhD thesis:
Brøvig, Ragnhild, Anne Danielsen, Paul Harkins, and Nick Prior (eds). Forthcoming 2027. The Oxford Handbook on Sampling in Popular Music. Oxford University Press.
Brøvig, Ragnhild. 2023. Parody in the Age of Remix: Mashup Creativity vs. the Takedown. Cambridge, MA: MIT Press.
Brøvig-Hanssen, Ragnhild, and Anne Danielsen. 2016. Digital Signatures: The Impact of Digitization on Popular Music Sound. Cambridge, MA: MIT 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.
Articles and Book Chapters:
Brøvig, Ragnhild and Alex Stevenson. 2026. Abstract Orchestra's Signifyin(g) of Madvillain's "Meat Grinder." In The Routledge Handbook to the Popular Music Cover Song: Vivid Versions and Musical Subjectivities, edited by Mike Alleyne and Lori Burns. Routledge. ISBN 9781032789484
Aareskjold-Drecker, Jon Marius and Ragnhild Brøvig. 2026. Hey Siri, Can You Write Me a Chipmunk Soul Tack? A snapshot of AI tools currently used in music production. In Innovation in Music: Current Research Perspectives, eds. Claus Sohn Andersen, Jan-Olof Gullö, Russ Heporth-Sawyer, Mark Marrington, Justin Paterson, and Rob Toulon. Routledge. ISBN 9781032757858
Brøvig, Ragnhild and Ivar Grydeland. 2026. Love your Latency: The Glitching Spatiotemporality of Telematic Music Performances. In Innovation in Music: Innovative Creative Practice, eds. Claus Sohn Andersen, Jan-Olof Gullö, Russ Heporth-Sawyer, Mark Marrington, Justin Paterson, and Rob Toulon. Routledge. ISBN 9781032757834.
Brøvig, Ragnhild and Alex Stevenson. 2025. Machine Aesthetics in Recorded and Performed Music: An Analytical Framework. Journal of Music Production Research 1/1: 49–69. DOI: https://doi.org/10.1386.jmpr_00005_1
Brøvig, Ragnhild. 2025. Stealing from or Facilitating Hard-Working Musicians? Remixers' Code of Honor. In The Routledge Companion to Remix Studies, 2nd edition, eds. Eduardo Navas, Owen Gallagher, and xtine burrough, pp. 401–11. New York: Routledge.
Kjus, Yngvar, Ragnhild Brøvig, and Solveig Wang. 2025. Kvinners første møte med DAW: En fornemmelse av å være i gutteklubbens skygger [Women's First Meeting with DAW: A Feeling of Being in the Shadow of the Boys' Club]. In Når musikken tek form: Om skapende praksisar i musikk, eds. Anja N. Hagen, Ragnhild T. Solberg, Torgeir U. Nærland, and Michael F. Duch, p. 437–463. Oslo: Fagbokforlaget.
Danielsen, Anne, Ragnhild Brøvig, Kjetil Klette Bøhler, Guilherme Schmidt Câmara, Mari Romarheim Haugen, Eirik Jacobsen, Mats S. Johansson, Olivier Lartillot, Kristian Nymoen, Kjell Andreas Oddekalv, Bjørnar Sandvik, George Sioros, and Justin London. 2024. There’s More to Timing than Time: Investigating Musical Microrhythm Across Disciplines and Cultures. Music Perception 41 (3): 176–198. https://doi.org/10.1525/mp.2024.41.3.176
Brøvig, Ragnhild and Jon Marius Aareskjold-Drecker. 2024. Vocal Chops: Another Human/Machine Hybrid. In Innovation in Music: Cultures and Contexts, eds. Jan-Olof Gullö, Russ Hepworth-Sawyer, Justin Paterson, and Rob Toulson, pp. 104–16. Routledge
Danielsen, Anne, Mats S. Johansson, Ragnhild Brøvig, Bjørnar E. Sandvik, and Kjetil K. Bøhler. 2023. Shaping Rhythm: Timing and Sound in Five Groove-Based Genres. Popular Music 41/2: 20–41. ISSN 0261-1430. Full text in Research Archive
Brøvig-Hanssen, Ragnhild, and Ellis Jones. 2023. Remix’s Retreat? The Impact of Platform Detection Procedures on Mashups. New Media & Society 25/6: 1271–89. DOI: 10.1177/14614448211026059. Full text in Research Archive.
Brøvig, Ragnhild. 2022. “It Ain’t but One Kind of Blues”: Kid Koala’s Bluesy Embrace of the Fragmented. In Analyzing Recorded Music: Collected Perspectives, eds. William Moylan, Lori Burns, and Mike Alleyne, pp. 248–58. New York: Routledge.
Brøvig, Ragnhild, Bjørnar E. Sandvik, and Jon Marius Aareskjold-Drecker. 2022. “Influence du traitement de plage dynamique sur le rythme perçu dans l’EDM.” In La musique et la machine. Penser l’interaction dans les musiques électroniques, collection, "Aesthetica", eds. Pierre Couprie, Kévin Gohon, and Emmanuel Parent, pp. 187–205. Presses universitaires de Rennes.
Brøvig-Hanssen, Ragnhild, Bjørnar E. Sandvik, Jon Marius Aareskjold-Drecker, and Anne Danielsen. 2021. A Grid in Flux: Sound and Timing in Electronic Dance Music. Music Theory Spectrum 44/1: 1–16. Full text in Research Archive.
Brøvig-Hanssen, Ragnhild, Bjørnar E. Sandvik, and Jon Marius Aareskjold-Drecker. 2020. “Dynamic Range Processing’s Influence on Perceived Timing in Electronic Dance Music.” Music Theory Online, 26/2. DOI: 10.30535/mto.26.2.3
Brøvig-Hanssen, Ragnhild, and Ellis Jones. 2020. “Remiksens retrett? Innvirkningen av plattformers gjenkjenninsprosedyrer på mashups.” Norsk medietidsskrift, 3/2020: 1–17. DOI: https://doi.org/10.18261/ISSN.0805-9535-2020-03-02 Full text in Research Archive.
Brøvig-Hanssen, Ragnhild, and Ellis Jones. 2020. Detection Algorithms and their Implications for Participation: The Case of Mashups. AoIR SPIR (Selected Paper of Internet Research, the 21 Annual Conference of the Association of Internet Researchers). DOI: https://doi.org/10.5210/spir.v2020i0.11181
Brøvig-Hanssen, Ragnhild and Aram Sinnreich. 2019. Do You Wanna Build a Wall? Remix Tactics in the Age of Trump. Popular Music and Society, 43/5: 535–549. DOI: https://doi.org/10.1080/03007766.2019.1650990
Brøvig-Hanssen, Ragnhild. 2019. Humor’s Role in Mashups and Remixes. In On Popular Music and Its Unruly Entanglements, eds. Nick Brae and Kai Arne Hansen, pp. 189–207. Palegrave Macmillan.
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. Full text in Research Archive
Brøvig-Hanssen, Ragnhild. 2018. Musical Recycling: Mashup Aesthetics and Authorship. AoIR SPIR (Selected Paper of Internet Research, the 17th Annual Conference of the Association of Internet Researchers).
Brøvig-Hanssen, Ragnhild, and Anne Danielsen. 2017. Music Production: Recording Technologies and Acousmatic Listening. In Routledge Companion to Music Cognition, eds. Richard Ashley and Renee Timmers, pp. 191–201. New York: Routledge. Full text in Research Archive.
Brøvig-Hanssen, Ragnhild. 2016. Justin Bieber featuring Slipknot: Consumption as Mode of Production. In Music and Virtuality, eds. Sheila Whiteley and Shara Rambarran, pp. 266–81. Oxford: Oxford University Press. Full text in Research Archive.
Brøvig-Hanssen, Ragnhild, and Anne Danielsen. 2013. The Naturalised and the Surreal: Changes in the Perception of Popular Music Sound. Organised Sound 18/1: 72–81. DOI: https://doi.org/10.1017/S1355771812000258. Full text in Research Archive.
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: 87–104. DOI: https://doi.org/10.1017/S026114301100047X
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. Full text in Research Archive (for a more detailed account on the concept of opaque mediation, read my "Listening To or Through Technology").
Brøvig-Andersen, Ragnhild. 2007. Musikk og mediering: Teknologi relatert til sound og groove i trip-hop-musikk [Music and Mediation: Technology related to Sound and Groove in Trip-Hop Music]. MA thesis, Department of Musicology, University of Oslo. Full text in Research Archive.
Published
June 24, 2022 2:24 PM
- Last modified
July 8, 2026 10:14 AM
