Ragnhild Brøvig-Hanssen

Associate Professor in Popular Music Studies
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Phone +47-22854852
Room 340
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Visiting address Department of Musicology ZEB building 3rd floor Sem Sælands vei 2 0371 OSLO
Postal address Department of Musicology P.O.Box 1017 Blindern 0315 Oslo

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

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

Member and researcher: 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, forthcoming. “Humor's Role in Mashups and Remixes.” In Blurring the Lines: Contemporary Approaches to Studying Popular Music, eds. Nick Brae and Kai Arne Hansen. Palegrave Macmillan. 

Brøvig-Hanssen, Ragnhild, forthcoming. “Mashups and Remixes.” In The Bloomsbury Handbook of Music Production, eds. Simon Zagorski-Thomas and Andrew Bourbon. Bloomsbury Publishing. 

Brøvig-Hanssen, Ragnhild, forthcoming 2018. “Mixing with Quotation Marks: Mashups and Contextual Transformation.” In Creative Practice in the Studio, ed. Katia Isakoff, Serge Lacasse, Sophie Stévance, and Simon Zagorski-Thomas. 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. New York: 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:

“Dynamic Range Compression’s Influence on Perceived Timing in EDM music,” peer-reviewed paper at the international Art of Record Production (ARP) conference, Stockholm Univ., Sweden, Dec 2017

“Does Compression Influence Timing? A Case Study in EDM Music,” 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 contribution to 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,  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 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 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.” Papaer 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 Mar. 13, 2018 11:35 AM