Ragnhild Brøvig

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. Forthcoming 2026 (in press). 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 Lori Burns and Mike Alleyne. Routledge.

Aareskjold-Drecker, Jon Marius and Ragnhild Brøvig. 2026 (in press; release date Feb 13). 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 (in press; release date Feb 13). 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. SBN 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.

• Aareskjold-Drecker, Jon Marius & Brøvig, Ragnhild (2026). Hey Siri, Can You Write Me a Chipmunk Soul Track? A Snapshot of AI Tools Currently Used in Music Production. I Andersen, Claus Sohn; Gullö, Jan-Olof; Hepworth-Sawyer, Russ; Marrington, Mark; Paterson, Justin & Toulson, Rob (Red.), Innovation in Music: Current Research Perspectives. Routledge. ISSN 9781032757858. doi: 10.4324/9781003475675-9. Fulltekst i vitenarkiv Vis sammendrag

  This article provides an overview of current AI-assisted tools used in music composition and production and demonstrate their application through research-based music production. By highlighting the diverse range of applications and levels of automation offered by AI tools, we nuance the discourse focused on AI-generated tracks and challenge the assumption that using AI necessarily equates to cheating. We demonstrate how musicians can harness AI to support their artistry without overshadowing human expression, ensuring that creativity and integrity remain at the forefront

• Brøvig, Ragnhild & Grydeland, Ivar (2026). Love Your Latency: The Glitching Spatiotemporality of Telematic Music Performances. I Andersen, Claus Sohn; Gullö, Jan-Olof; Hepworth-Sawyer, Russ; Marrington, Mark; Paterson, Justin & Toulson, Rob (Red.), Innovation in Music: Innovative Creative Practice - 1st Edition. Routledge. ISSN 9781032757834. doi: https:/www.routledge.com/Innovation-in-Music-Innovative-Creative-Practice/SohnAndersen-Gullo-Hepworth-Sawyer-Marrington-Paterson-Toulson/p/book/9781032757834. Fulltekst i vitenarkiv Vis sammendrag

  Innovation in Music: Innovative Creative Practice is a groundbreaking collection, bringing together contributions from instructors, researchers, and professionals, focusing on the joy of discovery in the context of music production, music technology, and music performance. With chapters on augmented creativity, single tonality chord songwriting, musical instruments as live samplers and playing field recordings in music production, this book is recommended reading for students, researchers, and professionals looking for global insights into the fields of music production, business, and technology.

• Brøvig, Ragnhild (2025). Stealing From or Facilitating Hard-Working Musicians? Remixers' Code of Honor. I Navas, Eduardo Antonio; Gallagher, Owen & burrough, xtine (Red.), The Routledge Companion to Remix Studies - 2nd Edition - Eduardo Navas. Routledge. s. 401–411. doi: 10.4324/9781003402459-33. Fulltekst i vitenarkiv Vis sammendrag

  While terms like “theft” and “piracy” have often been used to describe sampling, equating it with criminal behavior overlooks the complexities of copyright law and the ethical perspectives of remix artists. Drawing on interviews with mashup producers, this chapter reveals their perspectives and ethical guidelines regarding sampling, emphasizing the distinction between plagiarism and acknowledged appropriation, where the latter serves as a form of artistic commentary rather than a mere exploitation of others’ work.

• Brøvig, Ragnhild & Aareskjold-Drecker, Jon Marius (2024). Vocal Chops: Another Human/Machine Hybrid. I Gullö, Jan-Olof; Hepworth-Sawyer, Russ; Paterson, Justin; Toulson, Rob & Marrington, Mark (Red.), Innovation in Music: Cultures and Contexts. Routledge. ISSN 9781032611167. doi: 10.4324/9781003462101-8. Fulltekst i vitenarkiv
• Danielsen, Anne; Brøvig, Ragnhild; Bøhler, Kjetil Klette; Câmara, Guilherme Schmidt; Haugen, Mari Romarheim & Jacobsen, Eirik [Vis alle 13 forfattere av denne artikkelen] (2024). There’s More to Timing than Time: Investigating Musical Microrhythm Across Disciplines and Cultures. Music Perception. ISSN 0730-7829. 41(3), s. 176–198. doi: 10.1525/mp.2024.41.3.176. Fulltekst i vitenarkiv Vis sammendrag

  The TIME project: Timing and Sound in Musical Microrhythm (2017–2022) studied microrhythm; that is, how dynamic envelope, timbre, and center frequency, as well as the microtiming of a variety of sounds, affect their perceived rhythmic properties. The project involved theoretical work regarding the basic aspects of microrhythm; experimental studies of microrhythm perception, exploring both stimulus features and the participants’ enculturated expertise; observational studies of how musicians produce particular microrhythms; and ethnographic studies of musicians’ descriptions of microrhythm. Collectively, we show that: (a) altering the microstructure of a sound (“what” the sound is) changes its perceived temporal location (“when” it occurs), (b) there are systematic effects of core acoustic factors (duration, attack) on microrhythmic perception, (c) microrhythmic features in longer and more complex sounds can give rise to different perceptions of the same sound, and (d) musicians are highly aware of microrhythms and have developed vocabularies for describing them. In addition, our results shed light on conflicting results regarding the effect of microtiming on the “grooviness” of a rhythm. Our use of multiple, interdisciplinary methodologies enabled us to uncover the complexity of microrhythm perception and production in both laboratory and real-world musical contexts.

• Kjus, Yngvar; Brøvig, Ragnhild & Wang, Solveig Margrethe (2024). Kvinners første møte med DAW: en fornemmelse av å være i gutteklubbens skygger. I Hagen, Anja Nylund; Solberg, Ragnhild Torvanger; Nærland, Torgeir Uberg & Duch, Michael Francis (Red.), Når musikken tek form: Om skapande praksisar i musikk. Fagbokforlaget. ISSN 9788245047240. s. 437–463. doi: 10.55669/oa491112. Fulltekst i vitenarkiv Vis sammendrag

  Denne studien springer ut av en nysgjerrighet på hvorfor det er færre kvinner enn menn som produserer musikk. Mer spesifikt ville vi vite mer om hvordan kvinner opplever sitt første møte med produksjonsteknologi (nærmere bestemt DAW). Studien tar utgangspunkt i introduksjonskurs i musikkproduksjon og baserer seg på intervjuer med åtte kvinnelige kursdeltakere samt tre kursholdere. For kvinnene vi snakket med, fremsto mestring av teknologien som nødvendig for å oppnå kontroll, eierskap og anerkjennelse for musikken de skaper. Samtidig tydeliggjør studien også behovet for kreative fellesskap. Informantene erfarte et stort mulighets- rom i å mestre DAW-teknologi samtidig som de pekte på ulike former for hindringer. En av disse er ulike former for mannlig dominans som til en viss grad kan begrense deres kreative utfoldelse og muligheter til å lære seg å bruke den nødvendige teknologien. Begrensningene spenner fra indi- rekte signaler om at musikkproduksjon ikke «er noe for jenter», til direkte avvisning av deres bidrag og tilgang til skapende roller. Studien diskuterer til sist hvordan introduksjonskurs i produksjonsteknologi rettet mot kvin- ner kan bidra til å utjevne kjønnsbalansen i musikkfeltet.

• Danielsen, Anne; Johansson, Mats Sigvard; Brøvig, Ragnhild; Sandvik, Bjørnar Ersland & Bøhler, Kjetil Klette (2023). Shaping rhythm: timing and sound in five groove-based genres. Popular Music. ISSN 0261-1430. 39(1). doi: 10.1017/S0261143023000041. Fulltekst i vitenarkiv Vis sammendrag

  Abstract Shaping events at the microlevel of rhythm is an important aspect of many groove-based musics. In the present study, we explore the interconnectedness of musical parameters such as timing, attack shape, timbre and relative intensity in creating groove through investigating musicians and producers’ discourse in five genres (jazz, samba, electronic dance music, hip-hop and traditional Scandinavian fiddle music). Through semi-structured interviews, we found both genre-specific accounts of how such musical features interact at the microlevel of rhythm and a cross-generic focus on inducing movement by shaping sound and generating rhythmic friction. The study empirically substantiates the multiparameter nature of musical performance and experience, and that particular genre-typical configurations of temporal and sonic features are needed to create the experience of groove. It thereby adds to the scholarly discourse on groove, which has often taken a more general and time-oriented view of rhythm.

• Brøvig, Ragnhild (2022). "It ain't but one kind of Blues": Kid Koala's Bluesy Embrace of the Fragmented ("1 bit Blues," 2012). I Moylan, William; Burns, Lori & Mike, Alleyne (Red.), Analyzing Recorded Music: Collected Perspectives on Popular Music Tracks (1st ed.). Routledge. ISSN 9781003089926. s. 248–258. doi: 10.4324/9781003089926. Fulltekst i vitenarkiv Vis sammendrag

  This chapter analyzes “1 bit Blues” (12 bit Blues, 2012, Ninja Tune) by the Canadian turntablist and music producer Kid Koala (aka Eric San). Kid Koala is not a blues musician but is instead known for his eclectic selection of samples, his virtuosic turntable techniques, and his intriguingly playful music. 12 bit Blues was primarily created using the E-mu SP-1200 drum machine and sampler to manipulate and juxtapose samples from old blues records. The sonic result of that approach initiates a dialogue between two quite distinct aesthetic paradigms. The focus of this chapter, then, is on this particular dialogue, including the ways in which this track reimagines the blues by embracing the aesthetic potential of the temporally fragmented.

• Brøvig, Ragnhild; Sandvik, Bjørnar Ersland & Aareskjold-Drecker, Jon Marius (2022). Influence du traitement de plage dynamique sur le rythme perçu dans l’EDM. I Pierre, Couprie; Gohon, Kévin & Parent, Emmanuel (Red.), La musique et la machine: Penser l'interaction dans les musiques électroniques. Presses Universitaires de Rennes. ISSN 9782753586857. s. 187–206. Fulltekst i vitenarkiv Vis sammendrag

  La musique concrète, la musique électroacoustique, les musiques mixtes, le Live Electronics et à leur suite les courants populaires de la disco, de la techno, du rap et de l’EDM, désignent des styles musicaux qui ont radicalement changé les manières de faire et d’écouter la musique. En créant des situations nouvelles d’interaction entre les musiciens, les publics et les innombrables machines qui peuplent leur univers, ces répertoires ont modifié en profondeur l’ontologie et l’esthétique du fait musical. Ce livre, qui rassemble des contributions de musicologues français et internationaux (USA, Norvège, Australie, Royaume- Uni), propose ainsi une traversée des musiques électroniques savantes et populaires, de Luigi Nono à David Guetta, de Philippe Manoury à Brain Damage. Si la musique a pu un temps être pensée comme le produit de l’activité d’un compositeur unique, la médiation de l’électronique remet en pleine lumière la nature profondément collaborative et interactive de tout fait musical. Telle est l’hypothèse qui fonde l’ambition théorique de cet ouvrage. Publié avec le soutien de l’UR APP de l’université Rennes 2, de RASM-CHCSC de l’université d’Évry Val d’Essonne et du RITMO de l’université d’Oslo.

• Brøvig-Hanssen, Ragnhild; Sandvik, Bjørnar; Aareskjold-Drecker, Jon Marius & Danielsen, Anne (2021). A Grid in Flux: Sound and Timing in Electronic Dance Music. Music Theory Spectrum. ISSN 0195-6167. 44(1). doi: 10.1093/mts/mtab013. Fulltekst i vitenarkiv Vis sammendrag

  Researchers have argued that temporal microdeviations from the metric grid, such as those producedby musicians in performance, are crucial to making a musical rhythm groovy and danceable. It is curious, then, that the music currently dominating the dance floor, “electronic dance music” or EDM, is typically characterized by grid-based rhythms. But is such a “mechanistic,” grid-based aesthetic necessarily devoid of microrhythmic nuance? In this article, we aim to show that the microrhythmic component of an engaging groove involves the manipulation of more than simply the onset locations of rhythmic events—the sonic features fundamentally contribute to shaping the groove as well. In particular, we seek to demonstrate that EDM producers, with their preference for a grid-based microtiming aesthetic, are very sensitive to and adept at manipulating such sonic features for expressive effect. Drawing on interviews with EDM producers, we show that producers are often concerned with both sonic and temporal features, as well as their interactions. We argue that sonic features are crucial to shaping groove and feel at the micro level of rhythm. Moreover, such features also tend to introduce an indirect microtiming aspect to the grid-based aesthetic of EDM through the ways in which they shape timing at the perceptual level.

• Brøvig-Hanssen, Ragnhild & Jones, Ellis Nathaniel (2021). Remix’s retreat? Content moderation, copyright law and mashup music. New Media & Society. ISSN 1461-4448. 25(6), s. 1271–1289. doi: 10.1177/14614448211026059. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild & Jones, Ellis Nathaniel (2020). Detection Algorithms and their Implications for Participation: The Case of Mashups. Selected Papers of Internet Research, SPIR. 2020: AoIR2020. doi: 10.5210/spir.v2020i0.11181. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild; Sandvik, Bjørnar Ersland & Aareskjold-Drecker, Jon Marius (2020). Dynamic range processing and its influence on perceived timing in electronic dance music. Music Theory Online. 26(2), s. 1–13. doi: 10.30535/MTO.26.2.3. Fulltekst i vitenarkiv Vis sammendrag

  In this article, we explore the extent to which dynamic range processing (such as compression and sidechain compression) influences our perception of a sound signal’s temporal placement in music. Because compression reshapes the sound signal’s envelope, scholars have previously noted that certain uses of sidechain compression can produce peculiar rhythmic effects. In this article, we have tried to interrogate and complicate this notion by linking a description of the workings and effects of dynamic range processing to empirical findings on the interaction between sound and perceived timing, and by analyzing multitracks and DAW project files, as well as released audio files, of selected EDM tracks. The analyses of the different EDM tracks demonstrated that sidechain compression affects the music in many possible ways, depending on the settings of the compressors’ parameters, as well as the rhythmic pattern and the sonic complexity of both the trigger signal and the sidechained signal. Dynamic range processing’s impact on groove and perceived timing indicates, in line with previous findings, that sound and timing interact in fundamental ways. Because of this interaction, then, we cannot limit ourselves to technical terms that describe how particular effects are achieved if we want to fully understand the grooves that are characteristic of EDM or other music. We must also consider how listeners experience these effects.

• Brøvig-Hanssen, Ragnhild & Jones, Ellis Nathaniel (2020). Remiksens retrett? Innvirkningen av plattformers gjenkjenninsprosedyrer på mashups. Norsk medietidsskrift (NMT). ISSN 0804-8452. 3(2020). doi: 10.18261/ISSN.0805-9535-2020-03-02. Fulltekst i vitenarkiv Vis sammendrag

  Mange av dagens internettplattformer bruker automatiske og algoritmiske verktøy for å gjenkjenne og moderere uønsket innhold, inkludert det som blir ansett for å krenke opphavsretten. Denne artikkelen undersøker hvordan slike gjennkjenningsprosedyrer påvirker mashup-musikk – en form for remiks som baserer seg på å kombinere (uautoriserte) utdrag av tidligere, gjenkjennelige musikkinnspillinger. På bakgrunn av intervjuer (n = 30) og en spørreundersøkelse (n = 92) med mashup-produsenter, viser vi at disse gjenkjenningsprosedyrene påvirker produsentenes kreative beslutninger og distribusjonsstrategier, og at de har en betydelig, negativ innvirkning på produsentenes generelle motivasjon for å lage mashups. Produsentenes innvendinger mot denne situasjonen vinner en viss gjenklang i de juridiske unntakene fra opphavsretten. Vi argumenterer imidlertid for at disse unntakene, som utgjør en juridisk «gråsone», ikke er lagt tilstrekkelig til rette for av plattformene. Plattformenes politisk-økonomiske makt gjør det dermed mulig for dem å «okkupere» og kontrollere denne gråsonen. Som en konsekvens er den praktiske anvendelsen av opphavsrettens unntak i denne settingen betydelig redusert.

• Brøvig-Hanssen, Ragnhild (2019). Humor's Role in Mashups and Remixes. I Braae, Nick & Hansen, Kai Arne (Red.), On Popular Music and Its Unruly Entanglements. Palgrave Macmillan. ISSN 9783030180997. s. 189–207. doi: 10.1007/978-3-030-18099-7. Fulltekst i vitenarkiv Vis sammendrag

  On Popular Music and Its Unruly Entanglements comprises eleven essays that explore the myriad ways in which popular music is entwined within social, cultural, musical, historical, and media networks. The authors discuss genres as diverse as mainstream pop, hip hop, classic rock, instrumental synthwave, video game music, amateur ukelele groups, and audiovisual remixes, while also considering the music’s relationship to technological developments, various media and material(itie)s, and personal and social identity. The collection presents a range of different methodologies and theoretical positions, which results in an eclecticism that aptly demonstrates the breadth of contemporary popular music research. The chapters are divided into three major sections that address: wider theoretical and analytical issues (“Broad Strokes”), familiar repertoire or concepts from a new perspective (“Second Takes”), and the meanings to arise from music’s connections with other media forms (“Audiovisual Entanglements”).

• Brøvig-Hanssen, Ragnhild (2019). Mixing with Quotations: Mashups and Contextual Transformation. I Zagorski-Thomas, Simon; Isakoff, Katia; Stévance, Sophie & Lacasse, Serge (Red.), The Art of Record Production, Volume 2: Creative Practice in the Studio. Routledge. ISSN 9781138205109. s. 50–65. doi: 10.4324/9781315467658-4. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild & Sinnreich, Aram (2019). Do You Wanna Build a Wall? Remix Tactics in the Age of Trump. Popular music and society. ISSN 0300-7766. 43(5). doi: 10.1080/03007766.2019.1650990. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild (2018). Listening To or Through Technology: Opaque and Transparent Mediation. I Bennett, Samantha & Bates, Eliot (Red.), Critical Approaches to the Production of Music and Sound. Bloomsbury Academic. ISSN 9789781501333. s. 195–210. doi: 10.5040/9781501332074.0021. Fulltekst i vitenarkiv Vis sammendrag

  This is an Accepted Manuscript of a book chapter published by Bloomsbury Academic in Critical Approaches to the Production of Music and Sound on 11-01-2018 , available online: https://www.bloomsbury.com/9781501332050

Se alle arbeider i NVA

• Brøvig, Ragnhild (2023). Parody in the Age of Remix: Mashup Creativity vs. the Takedown. MIT Press. ISBN 9780262374125. 328 s. Fulltekst i vitenarkiv Vis sammendrag

  The art of mashup music, its roots in parody, and its social and legal implications. Parody needn't recognize copyright—but does an algorithm recognize parody? The ever-increasing popularity of remix culture and mashup music, where parody is invariably at play, presents a conundrum for internet platforms, with their extensive automatic, algorithmic policing of content. Taking a wide-ranging look at mashup music—the creative and technical considerations that go into making it; the experience of play, humor, enlightenment, and beauty it affords; and the social and legal issues it presents—Parody in the Age of Remix offers a pointed critique of how society balances the act of regulating art with the act of preserving it. In several jurisdictions, national and international, parody is exempted from copyright laws. Ragnhild Brøvig contends that mashups should be understood as a form of parody, and thus be protected from removal from hosting platforms. Nonetheless, current copyright-related content-moderation regimes, relying on algorithmic detection and automated decision making, frequently eliminate what might otherwise be deemed gray-area content—to the detriment of human listeners and, especially, artists. Given the inaccuracy of takedowns, Parody in the Age of Remix makes a persuasive argument in favor of greater protection for remix creativity in the future—but it also suggests that the content-moderation challenges facing mashup producers and other remixers are symptomatic of larger societal issues.

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• Brøvig, Ragnhild (2026). Kunstig intelligens, FoU og kreativ næring. doi: https:/trondelag.pameldingssystem.no/nasjonalt-fagkonferanse-for-kulturell-og-kreativ-naering-28-januar. Fulltekst i vitenarkiv Vis sammendrag

  Om KI i kreative og kulturelle næringer

• Brøvig, Ragnhild (2026). Presentasjon av Mishmash – senter for KI og kreativitet. doi: https:/www.arkitektbedriftene.no/arrangementer/ki-dagen. Fulltekst i vitenarkiv Vis sammendrag

  Presentasjon av Mishmash, WP5, og caser fra KI og musikk

• Brøvig, Ragnhild & Stevenson, Alex (2025). Hip Hop Live Versions: Signifyin(g) and Homage. Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2025). Rethinking Sampling, Value, and Power in Digital Music Culture. Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2025). Turning Vague Ideas into Strong Research Proposals. Fulltekst i vitenarkiv Vis sammendrag

  In this talk, I will share some thoughts and lessons learned from writing RCN and ERC applications, reviewing others’ proposals, and participating in HF’s Career Development Program for ERC applicants. I will discuss the importance of (1) turning a vague idea into a focused, strong, and innovative one; (2) aligning your proposal with your research path, profile, and motivation; (3) maximizing the relevance and impact of your idea; (4) balancing broad relevance with sharp focus; (5) choosing an effective framework and storytelling strategy; (6) building networks and fostering interdisciplinary collaborations; (7) taking the “implementation” part seriously; and (8) ensuring clarity, space, and engagement throughout your proposal.

• Alm, Vemund Hegstad & Brøvig, Ragnhild (2025). The Decline of Cloud-Based Sample Platforms? Fulltekst i vitenarkiv
• Brøvig, Ragnhild & Stevenson, Alex (2025). "Meat Grinder”: Performing Experimental Hip-Hop. Fulltekst i vitenarkiv
• Brøvig, Ragnhild; Harkins, Paul & Prior, Nick (2025). Recording, Resampling, & Repurposing: The Case of Portishead and the Bristol Sound. Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2025). Sampling's AH, AHA, and HAHA: Perspectives on Aesthetic, Political, and Humorous Aspects of Sampling. Fulltekst i vitenarkiv
• Alm, Vemund Hegstad & Brøvig, Ragnhild (2025). The emergence and potential decline of cloud-based sample platforms. Fulltekst i vitenarkiv Vis sammendrag

  This presentation explores the emergence of cloud-based sample platforms like Splice and Loopcloud and consider their potential decline in the age of AI-generated music. Sabrina Carpenter’s hit single “Espresso,” released on April 11th, 2024, put the spotlight on the ubiquitous use of online sample platforms in popular music. The songs’ main intrumental elements-guitars and drums-stem from two loops of producer Oliver’s popular pack “Power Tools Sample Pack III” on the sample platform Splice. This caused a surge of social media posts demonstrating how the instrumental track could be recreated in little under a minute. This form of sampling—both cheap and legal, fast and convenient—represents a distinctly different take on sampling than that commonly associated with “golden age hip hopproductions”, where samples are extracted from existing recordings (Brøvig 2023; McLeod and Dicola 2011; Schloss 2004). Besides being more efficient, these sample platforms’ royalty-free models allow producers to use samples freely without fear of legal action. Our presentation will begin by examining the factors leading to the emergence of cloudbased sample platforms. While the legal aspects might have contributed to the development of sampling platforms, we will also trace the platforms’ rootedness in less explored areas ranging from “library music,” to synthesizer preset cassettes and sample CDs bundled with music tech magazines (Cameron 2020). We will then discuss how these platforms, partly due to their mitigation of copyright issues, have contributed to transforming the sampling practices and aesthetics established by early hip-hop productions while also encouraging other forms of practices (Arrieta 2021). Lastly, we will discuss whether the advent of AIgenerated music technology has the potential to disrupt the sample industry altogether. This work will draw on research on sampling, copyright and musical platforms, and include insights gained from our interviews with producers of sample packs.

• Brøvig, Ragnhild & Aareskjold-Drecker, Jon Marius (2025). AI and Humanities: The Role of AI-Based Tool in Music Production. Fulltekst i vitenarkiv
• Talseth, Thomas & Brøvig, Ragnhild (2024). Kommentar til innlegget "Refser NRK for å la Gåte-låt konkurrere i Melodi Grand Prix". [Journal]. VG. Fulltekst i vitenarkiv
• Brøvig, Ragnhild & Aareskjold-Drecker, Jon Marius (2024). Hey Siri, what are the royalty splits of the song you wrote for me? Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2024). Exploring the Intersection of AI, Ethics, and Music. Fulltekst i vitenarkiv
• Brøvig, Ragnhild & Grydeland, Ivar (2024). Love your Latency and the Glitching Spatiotemporal Condition. Fulltekst i vitenarkiv
• Aareskjold-Drecker, Jon Marius & Brøvig, Ragnhild (2024). Paper: Hey Siri, can you write me a chipmunk soul track? A snapshot of AI tools currently used in music production. Fulltekst i vitenarkiv
• Brøvig, Ragnhild & Stevenson, Alex (2024). Performing Experimental Hip-Hop: Abstract Orchestra's Cover of Madvillain's "Meat Grinder". Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2024). Boklansering: Parody in the Age of Remix: Mashups vs. the Takedown (MIT Press). Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2024). Boklansering: Parody in the Age of Remix: Mashups vs. the Takedown (MIT Press). Fulltekst i vitenarkiv
• Danielsen, Anne; Brøvig, Ragnhild; Câmara, Guilherme Schmidt; Haugen, Mari Romarheim; Johansson, Mats Sigvard & London, Justin (2023). There’s more to timing than time: Investigating sound–timing interaction across disciplines and cultures. Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2023). Digitalisering i musikkutdanningen. Fulltekst i vitenarkiv
• Brøvig, Ragnhild & Furunes, Marit Johanne (2023). Karriereløpsprogrammet på RITMO med mentorordning. Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2023). My way to becoming a full professor. Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2023). Crises affecting the economy, production, and consumption of music: Perspectives from remixers. Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2023). Presentation of the book Parody in the Age of Remix. Fulltekst i vitenarkiv
• Brøvig, Ragnhild & Stevenson, Alex (2023). Machine Aesthetics: An Analytical Framework. Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2023). Crisis in the Flow of Remixes and in the Maintenance of Copyright Exceptions. Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2023). Users’ Freedom of Expression in the Digital Era. Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2023). You’re not supposed to sample and rely on copyright exceptions. Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2023). Publishing Panel (on the publishing of Parody in the Age of Remix). Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2023). Wakeful Sleep and Sleepy wakefulness in EDM. Fulltekst i vitenarkiv
• Jones, Andy; Brøvig, Ragnhild & Aareskjold-Drecker, Jon Marius (2023). Scientists explain why Seeb's remix of I Took A Pill In Ibiza has racked up 1.7 billion Spotify streams: it's all down to "micro-rhythmic nuances", hard work... and playing left-handed. [Internet]. MusicRadar.com . Fulltekst i vitenarkiv
• Roberts, Rachel; Brøvig, Ragnhild & Aareskjold-Drecker, Jon Marius (2023). Scientific research uncovers why Seeb’s I Took A Pill In Ibiza remix is hugely popular. [Internet]. MusicTech.com. Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2023). Arousal, Expectancy Violation, and Pleasure. Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2023). Machine Rhythms. Fulltekst i vitenarkiv
• Danielsen, Anne; Brøvig, Ragnhild; Câmara, Guilherme Schmidt; Haugen, Mari Romarheim; Johansson, Mats Sigvard & London, Justin (2023). Microrhythm depends on sound qualities: Investigating sound–timing interaction across disciplines and cultures. Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2023). Different approaches to qualitative methods. Fulltekst i vitenarkiv
• Brøvig, Ragnhild & Furunes, Marit Johanne (2023). Presentasjon av RITMOs karriereprogram for UiO sentralt (Seksjon for kompetanse- og organisasjonsutvikling, Avdeling for organisasjon og personal). Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2023). RITMOs Mentorprogram. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild (2022). Formidlingsformer i forskning. Fulltekst i vitenarkiv
• Brøvig, Ragnhild (2022). PhD course on academic formats: monograph, article, kappe. Fulltekst i vitenarkiv Vis sammendrag

  Presentation and panel discussion

• Brøvig, Ragnhild (2022). Genre in the Context of Digital Media Culture Seminar and Doctoral Workshop. Fulltekst i vitenarkiv Vis sammendrag

  Presentation ("Do Genre Boundaries Belong to a Bygone Era?") and panel discussion

• Brøvig-Hanssen, Ragnhild; Johansson, Mats Sigvard; Sandvik, Bjørnar; Jacobsen, Eirik; Aareskjold-Drecker, Jon Marius & Danielsen, Anne (2022). Musical rhythm. Qualitative investigations. Fulltekst i vitenarkiv
• Brøvig, Ragnhild & Aareskjold-Drecker, Jon Marius (2022). Vocal Chops: Another Human/Machine Hybrid. Fulltekst i vitenarkiv Vis sammendrag

  Mainstream popular music has, over the past decade, been characterized by the rhythmic and weird-sounding vocal effect known as vocal chops—short vocal samples that are juxtaposed, rearranged, and repitched to create hooks and effects. The samples are usually manipulated (transposed, formant shifted, or cut up, for example) to create a hybrid human-syntheziser sound and rearranged into a melody with abrupt and often unexpected transitions between the sounds. In this paper, we will first explore the historical origins of vocal chops, framing this effect as the most recent incarnation of producers’ and listeners’ enduring fascination with vocal manipulation. Drawing on ecological affordance theory, we will further speculate on what it is that people find so fascinating about this effect. We will also demonstrate various approaches to creating vocal chops and the various effects that these approaches produce, arguing that the intense exploration of this technique in recent years has led to its normalization, and to its progressively subtler integration into music productions.

• Kjus, Yngvar; Brøvig-Hanssen, Ragnhild & Wang, Solveig Margrethe (2022). Getting onto the platforms of music production: How women negotiate the creative opportunities of digital audio workstations. Fulltekst i vitenarkiv Vis sammendrag

  The topic of this paper is the encounter with new technology and the exploration of its potential in creative work. More specifically, it looks at experiences with digital audio workstations (DAWs), such as Ableton and Logic, which during a few decades have been established as almost indispensable software for composing songs, shaping sounds and refining expressions, among other things. We ask what characterizes the early and potentially formative encounters with DAWs, probing how beginners relate to opportunities and obstacles for their creative ambitions. Our study focuses on female creators, who often are underrepresented in music production. The study will shed light on the conditions of, and the potential barriers for, women to take part in contemporary music production, thereby also illuminating the pathway for others who begin to use DAW platforms in their music making. There exists considerable research on the development of new music technology and on the creative processes of production, including how the use of DAWs entail innovations in musical expression (e.g. Bennett and Bates 2018, Brøvig-Hanssen and Danielsen 2016, Kjus 2018, Zagorski-Thomas 2012). There are few studies, however, on how creators encounter technology which is new to them. This can be seen as an explorative sense-making process that music makers go through when they discover the tools and techniques they want to use. Insights from research on perceptual processes can contribute to our understanding of how individuals chart possibilities and limitations in their environment, over time developing awareness of nuances and variations in the musical affordances of tools and technologies (e.g. Clarke 2005). We are interested in how beginners explore the architecture of DAW programs and how they develop competency in the use of different functionalities and effects. Moreover, we are interested in the significance of DAWs for creative processes, whether they are used to continuate existing workflows or to develop musical materials, effects and structures in new ways. We are thereby interested in how the use of DAWs stimulates (or obstructs) different kinds of creativity, and will thereby lean on literature on creative processes (e.g. McIntyre 2011, Csikszentmihalyi 1996). One aspect of creativity is the ability to identify problems as well as solutions, which for music makers involves various issues regarding the construction and articulation of sounding expressions. One of the things we explore is the extent to which the problems/solutions of music making is being entwined with the problems/solutions of using DAWs. The primary method of the study is qualitative interviews with female musicians, probing various aspects of their experience with using DAWs with specific attention to their accounts of creative gratification as well as to technology-induced frustrations. Our informants (n=11) are recruited from DAW introduction courses, where we also carried out field observation and interviews with experienced instructors as part of our ambition to identify patterns in the appropriation and utilization of DAWs.

• Kjus, Yngvar; Brøvig, Ragnhild & Wang, Solveig Margrethe (2022). Encountering new technology: A study of how female creators explore DAWs. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild; Sandvik, Bjørnar & Aareskjold-Drecker, Jon Marius (2021). Slow Attacks, Peculiar Accents, and Pumping Grooves: Perceptual Interaction between Timing and Intensity in Music Production. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild (2021). Rhythm, Repetition, and Expectations. Fulltekst i vitenarkiv
• Kjus, Yngvar & Brøvig-Hanssen, Ragnhild (2021). Møter med teknologi: Kvinnelige skaperes utforsking av DAWs. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild (2020). Slutten på mashup musikk? Fulltekst i vitenarkiv Vis sammendrag

  På starten av 2000-tallet eksploderte internett med såkalte mashup-videoer som utelukkende besto av samples fra tidligere musikkinnspillinger. De siste årene har vi sett en nedgang i mashups samtidig som flere internett-plattformer har tatt i bruk algoritmiske verktøy for å regulere innholdet på nettsidene, blant annet innhold som bruker opphavsberettiget materiale uten tillatelse. Har dette en sammenheng? Hvordan opplever mashup produsentene selv disse nye reguleringsverktøyene som har blitt tatt i bruk, og hvordan stiller denne musikken og disse reguleringsveiktøyene seg i forhold til opphavsrett?

• Brøvig-Hanssen, Ragnhild (2020). Playful Rhythms and Mosaic Flow. Fulltekst i vitenarkiv Vis sammendrag

  Humor or fun are at the very heart of popular music and prompts its embrace, in turn, of playfulness. This paper points to musical examples that expose their fragmented construction and discusses how such mosaic rhythms and grooves can create a feeling of humor and playfulness, as well as unique feelings of pleasurable beauty. I argue that the aesthetics of this music to a large extent relies on the listener’s conceptions of two or more simultaneous “time planes” with two different sets of logic––the logics of the experienced now and the logics of some actual or imagined past. That is, fragmented rhythms are experiences as a parallel and contrast to some model or background text; their meaning relies on hearing them within two different contexts. Moreover, despite being experienced as fragmented, they are also experienced as coherent; a coherent fragmentedness that amounts to a mosaic flow. The dual nature or doubled experience of fragmented rhythms, which differs from music representing a coherent temporal structure, arguably creates a tension that is at the center of the vigor and the enjoyment of these playful rhythms. These discussions will draw on, in particular, Michael Apter’s (1982) theory of synergies and Brian Sutton-Smith’s (2001) notion of imaginative worlds, Yury Tynyanov and other parody scholars’ notions of a doubled-planed existence, and Victor Shklovsky’s (1989) notion of defamiliarization.

• Brøvig-Hanssen, Ragnhild & Sandvik, Bjørnar Ersland (2020). Timing in Electronic Dance Music. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild (2020). A Doubled Now: Parody Theories. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild (2020). “Parody in the Age of Remix and Takedowns”. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild (2020). Presentasjon av MASHED-prosjektet. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild & Jones, Ellis Nathaniel (2020). Detection Algorithms and their Implications for Participation: The Case of Mashups. Fulltekst i vitenarkiv Vis sammendrag

  ‘Mashup’ is a form of music that, in its use of samples from existing popular music recordings, has often been seen as an exemplar of the participatory cultural environment that many expected the internet to foster. It is a musical form that remains widely produced and consumed today. However, the contemporary internet is a complex environment for media distribution, with dominant platforms making use of a wide range of automatic and algorithmic regulatory tools in order to police, monitor, and remove unwelcome content – including that which is seen, rightly or wrongly, as copyright infringing. Drawing on recent empirical research on and with mashup producers – including 30 semi-structured interviews and an extensive survey (n=92) – this article explores the impact of platform regulation on mashup music today. It concludes that current regulation has significant stifling effects on this kind of remix creativity, including a substantial impact on where mashup producers distribute their music, on the aesthetics of their music, and – most pertinently – on their overall motivation to create. Having outlined these key findings, we argue that the ‘shutdown’ status of mashup producers raises profound questions concerning the balance between regulating online content in terms of protecting the artists’ rights, and cultivating participation and culturally valuable artistic expression. As such, this paper offers a timely contribution to scholarship on the complex relationship between popular music and new media in its critical exploration of internet’s detection algorithms and their implications for mashup music and cultural participation more generally.

• Brøvig-Hanssen, Ragnhild (2020). Mashup Music, Intertextuality, and Copyright. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild & Smedsrud, Morten Skipenes (2020). Algoritmene lammer kreativiteten. [Journal]. Apollon. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild & Jones, Ellis Nathaniel (2020). Slutten på remix? Spenningsforholdet mellom mashup-musikk og automatiske reguleringsverktøy. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild & Aareskjold, Jon Marius (2019). Vocal Chops and it's aesthetics. Fulltekst i vitenarkiv
• Kjus, Yngvar & Brøvig-Hanssen, Ragnhild (2019). Med opphavsrett på studieplanen. [Journal]. Ballade.no. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild (2019). Musical Fragmentation and Pleasure. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild (2019). Music Listening - Meso time. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild (2019). Mashup and Parody. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild (2019). Musical Fragmentation and Dual-Planed Temporality. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild (2019). Presentation of MASHED; TIME; and MusFrag. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild & Aareskjold, Jon Marius (2019). Vocal chops and Rhythm. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild (2019). Presentation of the MASHED-project. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild (2019). Mashups as Bisociative. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild & Sinnreich, Aram (2019). Paper on the Panel Resist, Rebel, Remix: Politics and Practice in Digital Culture. Fulltekst i vitenarkiv
• Cederkvist, Vibeke & Brøvig-Hanssen, Ragnhild (2019). Musikkverdenen voksne ikke forstår. [Internet]. NRK.no. Fulltekst i vitenarkiv Vis sammendrag

  Bedroom pop: En undergrunnskultur.

• Brøvig-Hanssen, Ragnhild & Aareskjold, Jon Marius (2019). Vocal Chops and its Aesthetics. Fulltekst i vitenarkiv
• Marte, Dæhlen & Brøvig-Hanssen, Ragnhild (2019). Hvem er den egentlige artisten bak mashups og sample-musikk? [Journal]. Forskning.no. Fulltekst i vitenarkiv Vis sammendrag

  Sak om mashups og opphavsrettsregulering basert på intervju med Ragnhild Brøvig-Hanssen fra forskningsprosjektet MASHED ved UiO.

• Brøvig-Hanssen, Ragnhild; Théberge, Paul; Lefford, Nyssim; Provenzano, Catherine & Williams, Alan (2019). Methodology Panel. Fulltekst i vitenarkiv Vis sammendrag

  Technology and Studio Practices in Record Production Research: Object, Subject, Variable and Data Collection Tool.

• Kjus, Yngvar; Brøvig-Hanssen, Ragnhild; Askerøi, Eirik; Hartung, Mike; Juell, Magnus Wergeland & Karoliussen, Sara (2019). Musikkprodusentens rolle. Fulltekst i vitenarkiv Vis sammendrag

  Musikkprodusentens rolle - Hva skal til for å lykkes som studioprodusent? - Hvordan balanserer studioprodusenter hensyn til kunstneriske mål og markedsmål? - Hva skyldes ubalansen i antall kvinnelige og mannlige studioprodusenter? Hvordan kan den utfordres? Debattleder: Yngvar Kjus (førsteamanuensis ved IMV) Med Sara Karoliussen (artist, produsent, ex-IMV) Magnus Wergeland Juell (nylig uteksaminert MA-student ved IMV) Ragnhild Brøvig-Hanssen (førsteamanuensis ved IMV og RITMO) Michael Scott Hartung (produsent) Eirik Askerøi (førsteamanuensis ved Høgskolen i Innlandet, ex-IMV)

• Brøvig-Hanssen, Ragnhild (2019). Humor, Parody and Mashups. Fulltekst i vitenarkiv Vis sammendrag

  Due to the affordances of new digital technology and user-generated Internet platforms, we have, during the last decade, witnessed an explosion of remixes, here understood broadly as works based on prior material. One such remix is mashup music, which primarily relies on the editing and combining of recognizable popular songs. In this paper I argue that while the dominating theories of humor and parody are focusing on verbal puns and/or literary texts, they prove useful to the study of audiovisual musical remixes, such as mashups. Mashups often seek to exploit an incongruity between the mashed tracks in a way that associates them despite their divergences. As such, they are often constructed in a manner reminiscent of linguistic jokes as theorized by Raskin (1985), Attardo & Raskin (1991), and Veatch (1998), among others. Yet, the incongruity and congruity/resolution factors are in these audiovisual mashups distributed differently than in literary jokes. I further argue that mashups conforms to the concept of parody as theorized by, among others, Hutcheon (2000) and Rose (1993). I then use mashup music as a lens through which to consider the much-debated relationship between humor and parody.

• Hui, Alan; Brøvig-Hanssen, Ragnhild & Jones, Ellis Nathaniel (2019). Grey Tuesday (Musikk I gråsonen). Fulltekst i vitenarkiv Vis sammendrag

  Hva betyr kreativitet og originalitet, og hvem definerer disse begrepene? Hva er de konkrete konsekvensene av mangel på en konseptuell klarhet på kreativitet og originalitet? Dette er spørsmålene som interesserer forskergruppen MASHED. For å forsøke å besvare disse spørsmålene skal forskergruppen se på Mashups. Mashups er en musikksjanger som kombinerer og redigerer annen innspilt musikk til et nytt, og avhengig av hvem du spør, unikt lydspor. Dette kan gjøres ved å kombinere vokalspor fra én innspilling med instrumentalspor fra en annen til en A+B-Mashup, eller ved å kombinere vokal- og instrumentalspor fra flere innspillinger til en Megamix-Mashups. Sosiale media plattformers implementering av algoritmiske reguleringsverktøy har fornyet den langvarige debatten om hvordan en slik musikalsk lånekultur kan forsvares juridisk og hvordan dette påvirker ytringsfriheten. Programutvalget ved Institutt for musikkvitenskap inviterer Ragnhild Brøvig-Hanssen, Ellis N. Jones og Alan Hui til en åpen samtale om Mashup-musikk, opphavsrett, kreativitet og originalitet. Etter samtalen vil det være åpent for spørsmål fra salen.

• Brøvig-Hanssen, Ragnhild & Sinnreich, Aram (2018). Do You Wanna Build a Wall? Remix Tactics in the Age of Trump. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild; Aareskjold, Jon Marius & Sandvik, Bjørnar (2018). EDM Producers' Reflections on Groove. Fulltekst i vitenarkiv
• Brøvig-Hanssen, Ragnhild (2018). Panel ved boklansering av Yngvar Kjus bok "Live and Recorded: Music Experience in the Digital Millennuim". Fulltekst i vitenarkiv
• Fredheim, Åse Ava Lange & Brøvig, Ragnhild (2024). “Birdsong” in Popular Music: A Study on How and Why Musicians Use Field Recordings in Music Production. Universitetet i Oslo. Fulltekst i vitenarkiv Vis sammendrag

  This thesis investigates the use of field recordings (environmental sounds, found sounds, everyday sounds) in popular music production. While recording audio from our surroundings to create music has traditionally been linked to Musique Concrète and the French avant-garde in the mid-20th century, field recordings are commonly integrated into music across genres today. Yet, little scholarly attention has been given to field recording as practice and implementing sounds from nature, city noise, crumpling of paper, or kitchen sounds within popular music genres. This thesis explores technological, artistic, and motivational aspects of integrating field recordings into popular music recordings. To identify how and why musicians include field recordings in their music, in-depth interviews were conducted with six musicians using field recordings in various popular music genres (e.g., pop, ambient, techno, americana). These musicians’ accounts of their motivation span from their fascination with these sounds and their potential to the emotions and memories they may express. Despite these differences among the participants, there appears to be a shared conception of artistic novelty and experienced creative value and credibility gained from using self-found sounds. Regarding practical approaches (i.e., recording, source exploration, and sound processing), the results reveal a broad spectrum of practices and uses of equipment and technologies, which I have further explored through research-creation. What the interviewees and I appear to have in common is our practice of integrating and manipulating field recordings to serve three primary musical functions: instrumental, ambiance, or sound effects. This suggests that field recordings are frequently employed as compositional tools in music-making and popular music recording, and that many musicians have embraced the notion that any sound can become music.

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