Music textbooks in the schools of the FRG, Diss. phil. Freiburg 1973, Neuwied 1974

Die Frau die wollt ins Wirtshaus gehn. Frauen-Volksliederbuch, edited in collaboration with Ursula Bartholl-Müri, Helga Ussat and Christiane Nicolmann, Frankfurt/M. 1981

(with Mechthild Fuchs and Barbara James) Deutsches Volkslied. The all too familiar unknown. Workbook for upper secondary level, with music cassette (= Studienreihe Musik, ed. by Sabine Schutte and Johannes Hodek), Stuttgart 1983

(Editorial collaboration on) Fred Ritzel and Wolfgang Martin Stroh (eds.), Musikpädagogische Konzeptionen und Schulalltag. Versuch einer kritischen Bilanz der 70er Jahre (= Musikpädagogische Bibliothek Vol. 31), Wilhelmshaven 1984

Instrument and body. Die musizierende Frau und ihre Wahrnehmung in der bürgerlichen Kultur 1750 - 1850, Habilitations-Schrift Oldenburg 1988, Frankfurt/M. and Leipzig 1991

(with Eva Rieger, ed.) Von der Spielfrau zur Performance-Künstlerin. In search of a musical history of women, Kassel 1993

(co-author) Promotion of women is university reform - women's studies is academic criticism. Report of the Lower Saxony Commission for the Promotion of Women's Studies and the Advancement of Women in Teaching and Research, published by the Lower Saxony Ministry of Science and Culture, Hanover 1994

(with Franziska Eber) Catalogue of books on women and music. 1800-1993, Oldenburg 1995

(with Jane Bowers and Ruth Heckmann, eds.) Images of Women and Men in Music. Commemorative publication for Eva Rieger on her 60th birthday, Oldenburg 2000

(with Rebecca Grotjahn, ed.) Geschlechterpolaritäten in der Musikgeschichte des 18. bis 20. Jahrhunderts (= Beiträge zur Kultur- und Sozialgeschichte der Musik vol. 3), Herbolzheim 2002

Japanese edition of "Instrument and Body" (see above), translated by Yuko Tamagawa and Yoko Sakai, Tokyo 2004

(with Marion Gerards) Music - Women - Gender. Bücherverzeichnis 1780 - 2004 (= Series of publications of the Sophie Drinker Institute vol. 4), Oldenburg 2006

Panic feelings. Sexuelle Übergriffe im Instrumentalunterricht (ed.) (= üben & musizieren. texte zur instrumentalpädagogik vol. 1), Mainz etc. 2006

Travelogues of female musicians of the 19th century. Source texts, biographies, commentaries (ed.), Hildesheim 2011

(with Markus Gärtner and Axel Weidenfeld, eds.) Musik im sozialen Raum. Festschrift for Peter Schleuning on the occasion of his 70th birthday, Munich 2011

(with Volker Timmermann, ed.) Quellentexte zur Geschichte der Instrumentalistin im 19. Jahrhundert, Hildesheim 2013

Lexikon Europäische Instrumentalistinnen des 18. und 19. Jahrhunderts (ed.), database www.sophie-drinker-institut.de

(with Volker Timmermann, ed.) "Such a splendid misery is the artistic profession!" From the diary of the violoncellist Rosa Suck. Vienna 1859 and Paris 1866 (= Publication series of the Sophie Drinker Institute vol. 13), Oldenburg 2017

(ed.) Handbook of conservatories. Institutional music education in the German-speaking countries of the 19th century, 3 vols., Lilienthal 2021

(with Ivo Berg, ed.) Learning to teach. Instrumental pedagogy on the way into the 20th century, Mainz 2022

(with Walter Mossmann) ‘A School for the Pupils – The Freinet Reform Movement’, in: Johannes Beck and Heiner Boehncke (eds.), Yearbook for Teachers 1977, Hamburg 1976

“A vast number of grades, dear Mozart!” On the social function of musical anecdotes, in: Peter Schleuning (ed.), Why Beethoven Moves Us and Other Essays on Music, Frankfurt am Main 1978

(with Walter Mossmann) Freinet pedagogy. Combining learning and life, in: Klaus Breslauer and Wolf Engelhardt (eds.), School Life – Opportunity or Excuse?, Hanover 1979

Annabelle or Monika the Pig. On the portrayal of women by German singer-songwriters, in: *Anschläge*. Journal of the Bremen Archive for Popular Music II 1979, No. 5

From Today Onwards, Here’s My Programme. Songs from the Women’s Movement, in: Anschläge. Journal of the Bremen Archive for Popular Music II 1979, No. 5

Two differently weighted abridged versions of a lecture given at the Berlin Federal School Music Week 1982:

(with Eva Rieger) ‘Girls Who Whistle…’ On the Disadvantage Faced by Female Pupils in Music Lessons, in: School Music Education and Music Culture. Conference Report: 14th Federal School Music Week, Berlin 1982, Mainz 1983

Under the same title in: *Musik und Bildung* XV 1983, No. 5

“On the battlefield, a man is still worth something”. Psychological preparation for war, the socialisation of heroes and the Bundeswehr songbook, in: Gerhard Bolm et al. (eds.), ‘Awareness of Peace’, 1st Peace Congress of Psychosocial Professions, Weinheim and Basel 1983

Instrumental tuition and ensemble playing, in: Ulrich Günther (ed.), Music in the College School. Outline and materials for an alternative educational programme in upper secondary education (= Curriculum 33), Soest 1984

Miniature Virtuosas, Cupids and Angels. Female Child Prodigies in the Early Bourgeoisie, in: *Neue Zeitschrift für Musik* CXLV 1984, No. 3

Sound and Gender. Women’s Instrumental Practice within the Ideology of the Early Bourgeoisie, in: *Neue Zeitschrift für Musik* CXLV 1984, No. 12

A truly ideal sight: the woman at the pianoforte, in: 36th Berlin Festival 1986, No. 86

The Female Instrumentalist and the Dominant Gaze, in: Einblicke. Research at the University of Oldenburg 1988, No. 8

Music for Practical Use. Hanns Eisler on his 90th Birthday, in: kontrapunkt 1988, No. 5

On the Road to Emancipation: Travelling Musicians around 1800, in: Reisekultur 1648–1848, ed. by Hermann Bausinger, Gottfried Korff, Klaus Beyrer and Wolfgang Griep, Munich 1991

‘… she took up the sword instead of the flute’. On the connection between the bourgeois revolution and women’s freedom of movement in music, in: Helga Brandes (ed.): ‘Half of humanity still had no rights’. Women and the French Revolution, Wiesbaden 1991

“It can’t always stay this way”. An East German song revue in a West German theatre, in: *Musik und Unterricht* 1991, No. 8

Female Artistic Production as Visual Staging, in: Wolfgang Zacharias (ed.), “Schöne Aussichten? Aesthetic Education in the Technological and Media-Saturated World” (= edition hermes. aesthetics, culture & politics Vol. 2), Essen 1991

‘... to dream of eternities with half-closed eyes’? The musician Annette von Droste-Hülshoff and the problem of professionalisation, Archive for Musicology XLVIX 1992, No. 1

Imprisoned Emotions. Annette von Droste-Hülshoff as a Musician, in: Ortrun Niethammer and Claudia Belemann (eds.), A Lattice of Music and Language. Feminist Analyses of Annette von Droste-Hülshoff, Paderborn et al. 1992

Institutional Training Opportunities for Female Musicians in the First Half of the 19th Century, in: Freia Hoffmann and Eva Rieger (eds.), From Female Musician to Performance Artist: In Search of a History of Women’s Music, Kassel 1993

Between ‘German cultural heritage’ and the rock musical. Music teaching at the German School in Milan, in: *Musik und Unterricht* 1993, No. 22

Music in music schools? School music caught between budget cuts and the false ideal of the musically successful child, in: *Musik und Unterricht* 1993, no. 23

‘Some Difficulties’. On the use of biographies in music education, in: *Musik und Unterricht* 1994, No. 26

Twenty Years of University-Level Music Teacher Training. An Attempt at a Critical Assessment, in: Revision of Teacher Training. New Reflections on the Occasion of the Congress Marking 200 Years of Teacher Training in Oldenburg [1993], edited by Hilde Günther-Arndt and Hans-Dietrich Raapke, Oldenburg 1995

‘Germania’ for bass, choir and orchestra WoO 94, in: Albrecht Riethmüller, Carl Dahlhaus and Alexander L. Ringer (eds.), Beethoven. Interpretations of his works, 2 vols., Laaber 1994. Vol. 2

Music for Duncker’s “Eleonore Prohaska”, WoO 96, in: see above

“It Is Finished” for bass, choir and orchestra, WoO 97, in: see above

(with Peter Schleuning) “The Torments and Bliss of Love”. Tchaikovsky as a homosexual composer and his 4th Symphony, in: Musik und Unterricht 1995, No. 32

Exclusions, Incorporations, Conquests. Musicology before and after 1945, in: Women and National Socialism. Historical and Cultural-Historical Perspectives, ed. by Ortrun Niethammer, Osnabrück 1996

Grete Sehlmeyer, in: Women in Politics. Female Parliamentarians in Lower Saxony, ed. by Bärbel Clemens, Hanover 1996

The Viennese composer and pianist Leopoldine Blahetka (1809–1885). Between Classical Tradition and Market-Oriented Virtuosity, in: I Am Travelling to My Beloved Vienna. Clara Schumann: Facts, Images, Projections, Conference Report Vienna 1996, edited by Elena Ostleitner and Ursula Simek (= Music Series ‘Frauentöne’, Vol. 3), Vienna 1996

Strong Women, Dubious Heroes: Mozart’s *Don Giovanni*, in: Ilse Dröge-Modelmog et al. (eds.), Women’s and Gender Studies. Current Status and Perspectives. Documentation of Women’s Studies at the University of Oldenburg, 17–21 June 1996, Oldenburg 1997

Hanns Eisler as a Music Educator, in: Contributions to Musicology and Music Education. Festschrift for Rudolf Weber on his sixtieth birthday, ed. by Hans-Joachim Erwe and Werner Keil (= Hildesheim Musicological Studies Vol. 4), Hildesheim 1997

Courtly Representation and Individual Expression. The Music of Margravine Wilhelmine of Bayreuth, in: *Musik und Unterricht* 1998, No. 48

(with Christin Heitmann and Katharina Herwig) The Collected Works of Louise Farrenc, in: Einblicke. Research Journal of the University of Oldenburg 1998, No. 27

A battle of the sexes in sound? On the debate concerning the construction of femininity and masculinity in music, in: Women, Bodies, Art. Women’s and Gender Studies in Music, Dance, Theatre and the Visual Arts, Vol. II: Documentation of Guest Lectures and Courses 1995–1998, Kassel 1999

Traditions, Obstacles, Dissonances – 200 Years of Women Studying Music, in: Women’s Voices – Contributions to an Unwritten History of Music, edited by Alenka Barber-Kersovan, Annette Kreutziger-Herr and Melanie Unseld (= Forum Jazz Rock Pop, Vol. 4), Karben 2000

Food for thought, objections, alternatives. Eva Rieger’s Contribution to Feminist Musicology, in: Freia Hoffmann, Jane Bowers and Ruth Heckmann (eds.): Images of Women and Men in Music. Festschrift for Eva Rieger on her 60th Birthday, Oldenburg 2000, pp. 11–20

The dream of a place of one’s own. On the opening of the Sophie Drinker Institute in Bremen (Germany), in: clingKlong. Journal of the Swiss Women’s Music Forum (FMF) 2002, No. 48

Learning Music: Male – Female. Five Theses, in: Practising and Making Music XIX 2002, Issue 5

Female Musicians around Mozart. A new perspective on an old topic, in: Music and Life. A tribute to Sabine Giesbrecht on her retirement, edited by Hartmut Kinzler (= Series of the Department of Education and Cultural Studies at the University of Osnabrück, Vol. 18), Osnabrück 2003

“Art through the Lens of Life”. Sabine Giesbrecht’s Writings on Music History and Music Education, in: Music and Life. A Tribute to Sabine Giesbrecht on Her Retirement, edited by Hartmut Kinzler (= Series of the Department of Education and Cultural Studies at the University of Osnabrück, Vol. 18), Osnabrück 2003

Louise Farrenc. The Story of a Discovery, in: clingKlong Winter 2003, No. 50

Perceptual Problems: Beethoven and Women, in: The ‘Male’ and the ‘Female’ Beethoven. Report on the International Musicological Congress held from 31 October to 4 November 2001 at the Berlin University of the Arts, edited by Cornelia Bartsch, Beatrix Borchard and Rainer Cadenbach, Bonn 2004

The Piano Teacher: Caroline Krähmer and a Literary Stereotype, in: Music and Biography : Festschrift for Rainer Cadenbach, edited by Cordula Heymann-Wentzel and Johannes Laas, Würzburg 2004

Integration as a Matter of Course: Training of Music Teachers at the University of Oldenburg, in: The Future of Teacher Training. Proceedings of a conference held at the Evangelical Academy in Loccum from 14 to 16 March 2003, edited by Andrea Grimm (= Loccum Proceedings 11/03), Loccum 2004

Supporting Young Talent at the Sophie Drinker Institute, in: How Useful Are Women Artists’ Networks TODAY? Conference proceedings, 22–23 September 2003 at the University of Music and Drama, Hanover, edited by Kathrin Beyer and Birgit Fritzen, Hanover [2004]

Amazons with Brass Instruments. Adolphe Sax and the Beneficial Influence of Lung Gymnastics, in: üben & musizieren No. 5, October/November 2008

(with Jannis Wichmann) Careers Faced with Obstacles. Professional Female Harpists and Guitarists in the 19th Century, in: Phoibos 2 (2012)

(with Christine Fornoff) ‘“No Lady Need Apply” or “You Can’t Operate the Pedals in a Skirt”’. Female organists on the path to professionalisation, in: Freiburg Journal of Gender Studies, Special Issue: Music and Gender Discourse, 1 (2012)

Up close and personal? Reflections on biographical writing, in: auf/be/zu/ein/schreiben. Practices of Knowledge and Art, ed. by Juri Giannini, Katharina Bleier, Michael Gerzabek and Annegret Huber, Vienna 2014

Networks of Female Musicians in Paris and London, in: Female Musicians and their Networks in the 19th Century, ed. by Annkatrin Babbe and Volker Timmermann (= Publications of the Sophie Drinker Institute, Vol. 12), Oldenburg 2016, pp. 149–161

The Educator, Pianist and Composer Elise Müller and the Rediscovered ‘Plan for a Female Teaching and Educational Institution’ by Wilhelm Christian Müller, in: Women Musicians and Their Networks in the 19th Century, edited by Annkatrin Babbe and Volker Timmermann (= Publications of the Sophie Drinker Institute, Vol. 12), Oldenburg 2016, pp. 203–223

(with Annkatrin Babbe and Volker Timmermann) ‘Salon and the Public Sphere: Boundaries and Porosities for Female Instrumentalists on the Path to Professionalisation’, in: La ‘condition féminine’. Feminism and the Women’s Movement in the 19th and 20th Centuries/Féminismes et mouvements de femmes aux^XIXe siècles, edited by Françoise Berger and Anne Kwaschik, Stuttgart 2016, pp. 253–266

(with Volker Timmermann), Between ‘Private’ and ‘Public’.
Musical Salons in German-speaking Countries and in Paris, in: Proceedings of the Annual Conference of the Society for Music Research, Halle/Saale 2015 – Musicology: the sub-disciplines in dialogue, edited by Wolfgang Auhagen and Wolfgang Hirschmann [schott-campus.com/gfm-jahrestagung-2015], Mainz 2016 [Schott campus, urn:nbn:de:101:1-201705056411]

A Breath of Fresh Air in Music Education, in: History of Education at the University of Oldenburg in Autobiographies, Vol. 3, Oldenburg 2018, pp. 44–74. The same in the Sophie Drinker Institute’s online series, No. 2, www.sophie-drinker-institut.de/online-schriftenreihe

(with Annkatrin Babbe) ‘Distorted Faces, Puffed-out Cheeks and “Ophicleide Shrieking”. On the Difficult Beginnings of Women on Brass Instruments’, in: From the Serpent to the Tuba. The Development and Use of Low-Pitch Pad-Reed Instruments with Fingerholes and Valves, edited by Christian Philipsen, Monika Lustig and Ute Omonsky (= Michaelstein Conference Proceedings 83), Augsburg and Michaelstein 2019, pp. 299–315.

‘Social and Geographical Origins of Students: The Cases of Sondershausen and Strasbourg’, in: Conservatoire Education from 1795 to 1945. Papers from the Bremen Conference in February 2019, edited by Annkatrin Babbe and Volker Timmermann (= Publications of the Sophie Drinker Institute 17), Hildesheim 2021, pp. 229–242.

Towards the University of the Arts: Institutional Education in the German-speaking World, in: Towards the University of the Arts: the 1970 Act on the Organisation of Art Colleges, edited by Susanne Prucher, Silvia Herkt, Susanne Kogler, Severin Matiasovits and Erwin Strouhal (= Publications on the History of the Mozarteum University Salzburg 15), Vienna 2021, pp. 24–35.

“Women meddling in all sorts of fields where they have no business being”. On the history of women’s music studies in the 19th century, in: Musicology of Diversity. Festschrift for Rebecca Grotjahn on her 60th birthday, ed. by Joachim Iffland, Johanna Imm, Nina Jaeschke and Sarah Schauberger, Munich 2021, pp. 209–220

(with Christiane Barlag, Doris Eickhoff, Carola Bethge and Annkatrin Babbe) Teaching in the Spirit of the Women’s Movement, in: *Die Tonkunst*, July 2022, pp. 317–326

“Promoting the Arts and Public Education”. The Establishment of Seminars for Vocal and Instrumental Teachers at Conservatoires in German-speaking Countries, in: Ivo Berg and Freia Hoffmann (eds.), Learning to Teach. Instrumental Pedagogy on the Path to the 20th Century, Mainz 2022, pp. 31–46

“Late Modernisation. Women at the Academy of Church and School Music 1922–1944”, in: 200 Years of the Berlin Institute for Church Music (1822–2022), https://www.institut-kirchenmusik-berlin.de

“Two Worlds”? Gender-Specific Music Textbooks of the Nazi Era, Sophie Drinker Institute Online Series Vol. 6, 2026, https://www.sophie-drinker-institut.de/files/Sammel-Ordner/A-Z/XYZ/Zwei%20Welten%20PDF.pdf

Louise Farrenc. Critical edition. Orchestral and chamber music and selected piano works, edited by Freia Hoffmann in collaboration with Christin Heitmann and Katharina Herwig, 14 volumes, Wilhelmshaven 1998 - 2003

Louise Farrenc, Piano Trios No. 3 in E flat major op. 44 and No. 4 in E minor op. 45, presented by Freia Hoffmann (= Critical Edition. Orchestral and chamber music and selected piano works, edited by Freia Hoffmann in collaboration with Christin Heitmann and Katharina Herwig Vol. II/5), Wilhelmshaven 2000

Louise Farrenc, Piano Trios No. 1 in E flat major op. 33 and No. 2 in D minor op. 34, presented by Freia Hoffmann (= Kritische Ausgabe. Orchestral and chamber music and selected piano works, edited by Freia Hoffmann in collaboration with Christin Heitmann and Katharina Herwig Vol. II/5), Wilhelmshaven 2001

in: Das Argument, Jahrbuch für Volksliedforschung, Das Orchester, Neue Musikzeitung, Zeitschrift für Musikpädagogik, Musik und Unterricht, Neue Zeitschrift für Musik, Zeitschrift für Musiktheorie, Jahrbuch Musik und Gender, info-netz-musik and others.

Art. Geschlechtsspezifische Musikpädagogik, in: Neues Lexikon der Musikpädagogik. Subject section, edited by Siegmund Helms, Reinhard Schneider, Rudolf Weber, Kassel 1994

Art. Kinkel, Johanna, in: New Dictionary of Music Education. Personenteil, ed. by Siegmund Helms, Reinhard Schneider, Rudolf Weber, Kassel 1994

Art. Blahetka, Leopoldine, for The New Grove. Dictionary of Music and Musicians. Second edition, ed. by Stanley Sadie, vol. 3, London 2001

Art. Blahetka, Leopoldine, for Music in History and the Present. Second edition, ed. by Ludwig Finscher, Personenteil vol. 3, Kassel etc./Stuttgart/Weimar 2000

Art. Cristiani, Lise, for Music in History and the Present. Second edition, ed. by Ludwig Finscher, Personenteil vol. 5, Kassel etc./Stuttgart/Weimar 2001

and numerous articles in the online encyclopaedia "Europäische Instrumentalistinnen des 18. und 19. Jahrhunderts" www.sophie-drinker-institut.de/lexikon

1990 -1997 Co-editor of "Musik und Unterricht", Friedrich Verlag Velber.

Responsible editor:
H. 5, 1990 "Musik - Theater - Schule"
H. 15, 1992 "Sprechen über Musik"
H. 17, 1992 "Filmmusik"
H. 19, 1993 "Musik - Bild"
H. 26, 1994 "Biographen"
H. 32, 1995 "Liebe und Sexualität"

Since 2005 Sophie Drinker Institute series published by BIS-Verlag Oldenburg

Vol. 1 Dorothea Schenck: "Très douée, bonne musicienne". The French composer Mel Bonis (1858-1937), Oldenburg 2005

Vol. 2 Rebecca Grotjahn and Christin Heitmann (eds.): Louise Farrenc and the reception of classical music in France, Oldenburg 2006

Vol. 3 Thomas Beimel: In the distance: a luminous body. Reflections on works by Karol Szymanowski, Hans-Werner Henze and Myriam Marbe, Oldenburg 2006

Vol. 4 Marion Gerards and Freia Hoffmann: Music - Women - Gender. Catalogue of books 1780 - 2004, Oldenburg 2006

Vol. 5 Anja Herold: Pleasure and frustration in instrumental playing. Umbrüche und Abbrüche im musikalischen Werdegang, Oldenburg 2007 (Diss. phil. Univ. Oldenburg 2007)

Vol. 6: Claudia Schweitzer: "... is, by the way, highly recommendable as a teacher". Kulturgeschichte der Clavierlehrerin, Oldenburg 2008 (Diss. phil. Univ. Oldenburg 2007)

Vol. 7: Jenny Kip: "More poetry than in ten Thalbergs". The pianist Marie Pleyel (1811- 1875), Oldenburg 2010

Vol. 8: Annkatrin Babbe: "An orchestra the likes of which had never before been seen or heard in Europe". The "First European Ladies Orchestra" by Josephine Amann-Weinlich, Oldenburg 2011

Vol. 9: Monika Tibbe (ed.): Marie Stütz. Records of a travelling musician. Quellentexte und Kommentare, Oldenburg 2012

Vol. 10: Michaela Krucsay: Zwischen Aufklärung und barocker Prachtentfaltung. Anna Bon di Venezia and her family of "operists", Oldenburg 2015 (Diss. phil. 2012)

Vol. 11: Annkatrin Babbe: Clara Schumann and her students at the Hoch'sches Konservatorium in Frankfurt a. M. Oldenburg 2015

Vol. 12: Annkatrin Babbe and Volker Timmermann (eds.): Female musicians and their networks in the 19th century, Oldenburg 2016

Vol. 13: Freia Hoffmann and Volker Timmermann (eds.): "Such a splendid misery is the artistic profession!" From the diary of the violoncellist Rosa Suck Vienna 1859 and Paris 1866, Oldenburg 2017

Vol. 14: Volker Timmermann: "... like a man with a wooden spoon". Violinists around 1800 Oldenburg 2017 (Diss. phil. Oldenburg 2014)

Vol. 15: Monika Tibbe: "Emanzipation der Tat". Mary Wurm - Pianist, Composer, Conductor, Music Writer, Oldenburg 2018

Vol. 16: Cordelia Miller: Musikdiskurs als Geschlechterdiskurs im deutschen Musikschrifttum des 19. Jahrhunderts, Oldenburg 2019 (Habilitationsschrift Rostock 2019)

Vol. 17: Annkatrin Babbe and Volker Timmermann (eds.), Konservatoriumsbildung von 1795 bis 1945. Contributions to the Bremen conference in February 2019, Hildesheim 2021

Vol. 18: Anna-Christine Rhode-Jüchtern, Maria Leo (1873-1942). Pioneer of a new music education, Hildesheim 2021