When Joachim Raff informed an unknown female applicant in 1879 that "no female teacher would be employed" at the Hoch Conservatory in Frankfurt, he immediately had to qualify his reply: "I can certainly take Mme Schumann herself as a man" (letter dated 3 July 1879, UB Frankfurt Mus. Autogr. J. J. Raff). So did a female musician only have to be prominent enough to be accepted into the illustrious circle of conservatory teachers? At first glance it might seem so, if we think of the singers Mathilde Marchesi and Selma Nicklass-Kempner (both at the conservatory in Vienna, the latter also at the Stern Conservatory in Berlin). In the everyday reality of the training institutes, however, there were also other aspects and needs that suggested a pragmatic approach to the subject. Since the first female (singing) students entered the conservatories in Prague and Vienna in 1817, it was necessary to employ suitable female teachers, and not just for professional reasons: Teaching should be segregated by gender. This was also the requirement when the doors opened in Leipzig in 1843 for the first time for women with piano as their main subject. Conservatories were probably the first co-educational training institutions in the 19th century, and with the enormous influx of women that began in the second half of the century at the latest, a statement like the one quoted above from Joachim Raff was actually an anachronism. In addition, most conservatories not only trained students for future professional practice, but also maintained departments for dilettantes and seminars for future instrumental teachers, i.e. they also ran so-called elementary schools for children. As a result, the target groups and teaching staff were thoroughly gender-mixed, and career opportunities for female musicians emerged early on.
The lecture will present partial results of the research project "Conservatories in German-speaking countries in the 19th century", which has been conducted at the Sophie Drinker Institute in Bremen since 2016.

Freia Hoffmann, Dr, Professor of Music Education at the University of Oldenburg until 2010, Head of the Sophie Drinker Institute in Bremen since 2001. 1973 doctorate from the University of Freiburg, 1988 habilitation in Oldenburg with Instrument and Body. Die musizierende Frau in der bürgerlichen Kultur (Frankfurt/Leipzig 1991). Numerous works on music education, historical musicology, women's and gender studies. At the Sophie Drinker Institute, editor of the encyclopaedia Europäische Instrumentalistinnen des 18. und 19. Jahrhunderts. Since 2016 working on a "Handbuch Konservatorien. Institutional music education in the German-speaking countries of the 19th century" in three volumes. Hopefully to be published in 2021.

After graduating from the so-called Music Research Centre, the first national music institution founded in Japan, the Japanese violinist, pianist and composer Kōda Nobu studied in Boston and Vienna as the first state scholarship holder in the field of music. In Vienna, she composed a violin sonata during her studies as a violin main subject, which remained unfinished but is the first
western composition by a person from Japan. After her return to Japan, she was regarded as a pioneer of Western music and became a professor at the Tokyo Music School; however, the media gradually criticised the dominance of female teachers at the music school, so that Koda finally withdrew under circumstances that will be examined in my lecture. This is because the social structure of Japan changed so drastically during the Meiji Restoration with its efforts to modernise the country that Kōda's career break should not be examined solely from a gender perspective. An intersectional approach also takes into account her social status as a member of a samurai family with decidedly Japanese traditions in a tense relationship to what she had brought back in terms of music-cultural understanding in addition to Western music as such. The question arises as to how Kōda herself developed a cultural identity against the background of Japan's modernisation and how this was reflected in her view of music.

Keiko Uchiyama was born in Tokyo. After completing a bachelor's degree at the Tōhō Gakuen University of Music in Tokyo and a master's degree at the University of Music and Performing Arts Graz, she is currently a doctoral candidate at the University of Music and Performing Arts Vienna. Her dissertation topic is "Intercultural perspectives on music appreciation and modernity in Tokyo and Vienna - in the footsteps of Rudolf Dittrich (1861-1919)". She gave lectures at the "20th Quinquennial Congress of the International Musicological Society" in Tokyo (2017) and at the IMS Intercongressional Symposium in Lucerne (2019). She also works as a flautist and instrumental teacher.

The medium of the music roll and the position of this special type of sound information carrier with regard to interpretation research and the close intermeshing of technological progress in instrument making and the desire for reproducibility of artistic expression have been examined in many ways in the recent past. Nevertheless, some aspects still require closer examination.
One desideratum is research into the role played by women in this context. Despite the numerical dominance of male performers, it cannot be denied that female pianists, some of them with a considerable number of recordings, are also listed in the catalogues of leading manufacturers. Common names stand in a row with those of female performers about whom almost nothing seems to be known. Gap-filled biographies are therefore to be supplemented and analysed with regard to the conclusion of contracts with manufacturers of music rolls and placed in the context of those concluded with male pianists.

Furthermore, the nature of the repertoire that female pianists recorded for the production of music rolls will be examined in more detail, as well as the conclusions that can be drawn about the changing position of women in the canon of piano music during this period. Reviews in the (subject) press of the time are an important source for the reception of these musical publications. "Man and machine", a frequently used catchphrase in this context, is to be analysed in a broader and narrower sense to include "woman and machine", with a special focus on the changing perception of women and their work with technical, even industrial equipment before, during and after the First World War.

We must not neglect those fields that at first glance seem remote, such as advertising, organisation and production, in which women were involved at all times, whereby the focus will initially be on the production of Ludwig Hupfeld AG in Leipzig.

Jörg Holzmann studied classical guitar at the State University of Music and Performing Arts in Stuttgart and graduated with top marks in both the Artistic Training and Instrumental Pedagogy degree programmes. He then taught guitar at music schools in the Stuttgart area and took part in international guitar competitions (winning prizes at important festivals in Spain, India, Korea and the USA). From 2017 studies of musicology (literature and art history) in Stuttgart and Leipzig, 2020 Master's degree with a thesis on the life and work of the pianist Helena Morsztyn. 2018- 2020 Research assistant at the Musical Instrument Museum of the University of Leipzig. Since 2020 research assistant at the Institute for Interpretation at the Bern University of the Arts in the project "Historical Embodiment": Evaluation of early sound film documents and their use for instrumental practice (as the basis for the resulting doctoral thesis). In addition to his work as a musicologist, Jörg Holzmann is also active as a solo and chamber music guitarist, composes his own pieces, works on transcriptions for classical guitar and is interested in trying out new and unconventional concert formats.

For Isadora Duncan, the "dancer of the future" was identical with the "woman of the future" and embodied the essence of an art in which the deepest past and the highest modernity coincide: in the movements of the "savage", as she wrote in 1903, in whose individual body the "movement of the universe" is concentrated. The "chok" that the music and dances of US jazz bands left behind in Europe in the 1920s was based on the idea of a magical, original power of expression that 'degenerated' European art had lost at the latest since the European Enlightenment. This was countered by an increasing distrust of language and, above all, of the writing that conventionalised it: "Reading what has never been written," wrote Walter Benjamin at the beginning of the 1930s in his essay On the Mimetic Faculty. "This reading is the oldest: reading before all language, from the viscera, the stars or dances." The magic that was seen in the supposedly 'original' expressive power of the 'primitives', and here in particular in the art of dance as the oldest form of the 'total work of art', met with the 'magic' of the new media. Phonography and cinematography seemed to reproduce the movements of the body and voice 'authentically' using analogue cursive writing.

Using selected examples, the lecture will explore the question of how figures of the 'feminine' and the 'primitive' in the processes and discourses outlined become the agents of a modernity that excludes the producers of supposedly authentic art as subjects and how this also structures the musical orders of knowledge, particularly via the media aspect.

Cornelia Bartsch, studied school music, musicology, political science and German studies in Osnabrück and Berlin. Doctorate Fanny Hensel, née Mendelssohn Bartholdy - Music as Correspondence. Research assistant/research associate at the Berlin University of the Arts, at the Musicology Institute Detmold/Paderborn, guest lecturer/representative professor at colleges and universities in Germany, Austria and Switzerland. 2010-2017 research assistant at the Department of Musicology at the University of Basel in co-operation with the Centre for Gender Studies, 2017-2020 administrative professor at the CvO University of Oldenburg. Research focus among others: Music history and aesthetics from the 18th century to the present, music historiography, orders of knowledge in music, music and (post)colonialism, transcultural music history, methods of musical analysis in a cultural studies context, intertextuality, intermodality, music and scene.

Since the end of the 1970s, popular musical theatre pieces dealing with historical female chanson and jazz singers have experienced a heyday: Piaf, je tʼaime (Paris 1996), Marlene (London 1997), Blue Moon - Eine Hommage an Billie Holiday (Vienna 2015) are just a few examples of the almost 140 musicals, musical theatre pieces and revues of this kind that I have recorded to date. The special feature of this little-researched form of musical theatre is not only that historical figures are portrayed on stage, but also that these figures appear in a musical-scenic work. The actors in these music theatre productions - from the authors and singers to the audience - deal with music history, or more precisely, with the music, artistic activities and biographies of historical musicians. How do they experience and shape the portrayal of these singers? To what extent are they perceived as worthy of a biography? And how are gender concepts processed or scrutinised in the process? People rarely talk about Dietrich or Piaf without referring to them as "seductresses", "children" and/or "career women". The posture, the gestures, the voice of these musicians, the way they shaped their lives and their artistic appearance all influence the image that can be seen and heard of them today in various media, including popular music theatre.

My work thus sees itself as a contribution to research on women in the history of popular music. Using methods from ethnography, theatre studies and historical musicology, I analyse the relevant performances as well as the experiences and perceptions of those involved in these music theatre productions. Central to this is the question of how the actors (re-)produce music history and gender concepts.

Clémence Schupp-Maurer studied Médiation Culturelle at the Université Sorbonne-Nouvelle (Paris) and obtained her Master's degree at the Université Charles-de-Gaulle (Lille) in Création et étude des arts contemporains. Since 2016, she has been a research assistant in the Emmy Noether junior research group "Music History on Stage" at the Institute of Music at the University of Oldenburg. She is doing her doctorate on historical chanson and jazz singers in popular music theatre with a focus on historical and gender constructions on stage.

Andrea Berg is one of the most successful pop singers of our time - her albums have been in the charts in Germany longer than those of the Beatles and she fills entire stadiums in body-hugging outfits that are sometimes reminiscent of motorbike aesthetics. In 2013, the singer also published a cookbook called "Meine Seelenküche" (My Soul Kitchen), in which she wrote down her favourite recipes and anecdotes, and on her official Instagram profile she often shows herself knitting socks and helping out at her husband's country inn. If one interprets these two poles as staging strategies of the persona (according to Philip Auslander) Andrea Berg, one can recognise a dissent between traditional-domestic femininity and her more rocker-like stage persona. In my presentation, I would like to take a closer look at the staging strategies behind Andrea Berg. To this end, I will analyse selected social media posts, concert excerpts and lyrics from her songs in order to raise the question of whether she is so successful precisely because of these seemingly contradictory paradigms. Methodologically, I will draw on Philip Auslander's concept of the persona and on approaches to analysing visual communication, for example by Maria Schreiber. In addition, the expectations and prejudices that are placed on the image of women in the world of pop music will be critically analysed using the example of Andrea Berg.

Marina Schwarz (born 1995) studied musicology and art history at the Johannes Gutenberg University in Mainz from 2014-2018 and completed her studies with a master's thesis on canonisation processes in classical music. During her studies, she worked at Bärenreiter Verlag in Kassel, at the ZDF music archive in Mainz and wrote reviews and concert introductions for various newspapers and festivals. Since the end of 2018, she has been working on her doctorate under Wolfgang Fuhrmann at the University of Leipzig. The working title of her dissertation is "Atemlos zum Erfolg - Gender, Frauenbild und aktuelle Entwicklungstendenzen im deutschen Schlager". She also works as a lecturer in popular music at the Institute of Musicology in Leipzig.

Although one could hardly claim that Beethoven and his oeuvre have suffered from a lack of scholarly attention or widespread acclaim, contributors to the analytical discourse on Beethoven's keyboard works have consistently either deftly circumvented or blatantly ignored an opus, rendering it a seeming inconsequentiality in Beethoven's illustrious compositional career: the seven Bagatelles of Op. 33 (published 1803). Is this (tacet) ascription warranted, though? This paper explores gender aspects of Beethoven's Op.33 Bagatelles as inconvenient incongruities in the sociological construction of Beethoven's identity as a musical 'genius', their historical performance praxis and dissemination being at odds with the biased epistemological perspectives of an overwhelmingly masculine discourse, and a fresh, yet historically relevant, approach to incorporating this opus into a more comprehensive analytical discourse on Beethoven's creative experimentation.

Quite aside from the potentially derogatory denotation of the seven pieces in Op. 33 as "Bagatelles", their brevity and relatively accessible performability could justifiably position them within the repertoire considered apposite for the Liebhaber - as opposed to the Kenner - and the corresponding social spaces in which such repertoire was performed. Women, seldom included in the realm of the Kenner, were agents in the dissemination of Liebhaber repertoire - music so categorised for its incompatibility with the ideals of musical 'greatness', and certainly, with the inherently gendered concept of 'genius'.

Through considering the implicit biases relating to the gender of the agents of dissemination of this opus, ascription of 'genius', and masculine approaches to music analysis, this paper suggests a historically contextualised analytical approach to examining creative experimentation, that would make it necessary to reconsider the significance of this underrated opus in Beethoven's oeuvre.

Anne Ewing is a PhD candidate and scholarship holder at the University for Music and Performing Arts Vienna. She was a pre-tertiary lecturer (theory, analysis, musicology, and composition) and tutor (chamber music) at the Australian National University (2005-2016), where she graduated with a Bachelor (Honours) and Master of Performance (piano). The title of her doctoral thesis is Arguing experimental creativity: Beethoven's Bagatelles revisited. Anne has presented research papers at CityMAC 2018 London, Beethoven-Haus Bonn (2018), the final event of the project Compositrices et interprètes en France et en Allemagne: approches analytiques, sociologiques et historiques, Vienna (2019), and at the 2019 IMS Intercongressional Symposium (Lucerne). In addition to her own research, Anne is frequently engaged in translation (German to English) of a broad range of musicological publications. She also holds diplomas in cello, violin, and music theory, and has performed as a soloist, chamber musician, and orchestral musician in New Zealand, Croatia, Austria, and all the Eastern states of Australia.

Roland Barthes' bon mot about the Italian composer Sylvano Bussotti (born 1931), in whose works theatre already begins "with the graphic apparatus" (Barthes 2010), seems to apply in particular to the opera Lorenzaccio (1968-72). Here, Bussotti draws stage sets, costumes and props next to, around and in the middle of the conventionally notated orchestral and vocal parts. In the suggestion of facial expressions and postures, the costume and figure designs often also contain performative instructions. Thus, moments of scenic representation and character psychology are part of the written fixation of the opera.

From the perspective of current interdisciplinary research into writing, the inscription surface of the Lorenzaccio score can be described as an "artificial special space" (Sybille Krämer, Figuration, Anschauung, Erkenntnis, 2016), which enables the simultaneity of projected sound and scenic elements and thus functions as a media contact surface on which symbolic and pictorial-scenic elements meet. In the pleasurable staging of primarily male bodies and homoerotic subjects, the musical written space in this case also comes into view as a "medial identity space" (Hipfl / Klaus / Scheer), as a medium for the performance of gender (Butler / Cusick). In this article, I would like to understand Bussotti's eccentric written images less in the light of personal idiosyncrasies than in the sense of a visualisation and negotiation of body images and gender identity, as a public breaking open of heteronormative ideas - especially considering the lack of social acceptance of homosexuality in Italy in the late 1960s and its tabooing in the new music scenes of the time.

Julia Freund studied musicology, philosophy and intercultural communication in Freiburg, Bristol and Munich. She was a Visiting Research Assistant at the School of Music at the University of Leeds from 2014-2017. She completed her doctorate at LMU Munich in 2017; her thesis was published in spring 2020 under the title Fortschrittsdenken in der Neuen Musik. Concepts and Debates in the Early Federal Republic of Germany by Wilhelm Fink Verlag. Julia Freund has been a research associate in the D-A-CH research project "Writing Music" since 2018 and a research associate at the Institute for Musicology and Music Education at JLU Giessen since 2019.

In this lecture, I will discuss a source example from the context of a research interest in the musical socialisation of boys around 1900. While basic musical skills - above all singing and playing the piano - are known to have been an integral part of middle-class girls' education since the 18th century at the latest, thereby significantly shaping female identity, the picture of the profile of boys' musical education is more blurred. While singing in school or church was one of the basic musical experiences of all children and adolescents, experiences beyond this were less normatively predetermined and more dependent on individual and structural circumstances. To what extent were the parents interested in music and wanted to encourage their sons accordingly, were the economic opportunities available and to what extent did the boy himself develop motivation to engage in music culture, i.e. to make music or listen to music? What opportunities did the regional environment and its institutions offer, were there boys' or children's choirs, a conservatory, public concerts, what did the club landscape look like, etc.? On both levels, it is worth asking what gender-specific differentiations there may have been, for example within the framework of family cultures, which in principle may have offered a similar basic climate for daughters and sons. In my search for sources, I looked not only at personal testimonies but also at youth magazines and books. The lecture will present the medium of the illustrated yearbook, which was published continuously over many decades. Due to its clear address to adolescent boys (Der gute Kamerad) and girls (Das Kränzchen) and its analogue structure (it offers a mixture of youth stories, non-fiction texts, handicraft and needlework instructions as well as many pictures), it offers an illuminating insight into the gender-specific norms and assumed or real interests of the respective target group.

Katharina Hottmann, studied to become a teacher with the subjects Music and German in Hanover. 2005 PhD at the HfMT Hanover with a study on the opera aesthetics of Richard Strauss; awarded the Hermann Abert Prize of the Society for Music Research for her work in 2007. From 2002 to 2006 research assistant at the Hamburg University of Music and Theatre in the field of musicology and gender studies, from 2007 to 2014 research assistant at the University of Hamburg; 2015 habilitation on the cultural history of song in Hamburg during the Enlightenment. In the summer semester 2011, substitute professor at the UdK Berlin; from 2016, substitute professorships at the universities of Hamburg, Kiel and Flensburg. Since March 2020 Professor of Historical Musicology at the University of Siegen.

What are the experiences of women* music students of colour in the contexts of sound art and popular music? How do they deal with different forms of discrimination, financial difficulties and health problems in their learning practices? Based on the data collected in interviews with professional Women* Musicians of Colour, I have identified three types of action: Stretching - of resources, equipment and skills, due to financial and time constraints Rejecting - of norms that the women also reject: classist, sexist, racist norms Enduring - patience in attempts to change existing structures and spaces; and exhaustion in attempts to create new spaces outside of the dominant framework. Are women* music students of colour in colleges and universities also forced to use these modes of action to assert themselves in the academic environment? In this initial phase of my research project, I have many questions: Are theories of informal music learning (Green 2002) or DIY home studios (Wolfe 2012) sufficient in the context of women* of colour? Can a transcultural or locational feminism (Tuzcu 2017) fill gaps? Furthermore, which research methodologies allow the researcher to remain critical and aware of her own role despite her own positioning and proximity? Can the autoethnographic methodology of Dialogic Performance (D. Soyini Madison 2006), which is not only reflective but reflexive, offer a solution? In my presentation, I will outline initial themes, data, literature and possible research methodologies of the project.

Shanti Suki Osman (M.A. Music Education, University College London, Institute of Education, AHRC Studentship 2013) is a musician, artist and educator. She works with songwriting, acoustic arts, music making and radi o to deal with identities and privileges, cultural valorisation and appropriation, feminisms, critiques from post-colonial and decolonial perspectives. She conducts research in the field of music education on topics related to women* of colour, identities and learning practices. From 2019 to September 2020, she co-directed the school founded by Carmen Mörsch and the Critical Race project: Die Remise, Berlin. Shanti Suki Osman is a research associate at the Humboldt University of Berlin (musicology) and at the University of Oldenburg (music education)

Franz Schubertʼs Allegretto in C minor D.915 begins. Maria Schacko's mouth opens, but no sound comes out. She clutches her throat, shaking desperately as if she is choking, while the piano thunders downwards in dramatic cascades of chords, but she is unable to sing: "Enough, enough!" she cries in horror, "What have you done to my voice?" Alexandra Kaufmann explains that she was not famous enough, which is why there are no recordings of her.

The scene described is taken from the puppet theatre piece "Schacko - von Diven, Dirigenten und anderen Dramen" by the group Kaufmann & Co (Berlin), from whose website the title quote is also taken. It alludes to elementary processes of remembering and forgetting, about which I would like to address the following questions relevant to musicological memory research on female singers in exile in my lecture:

How are music historiographical practices of remembering and forgetting represented and interpreted in the above scene? To what extent does Maria Schacko herself describe her work as a singer in exile, for example in her autobiographical sketches, which are preserved in her estate in the German Exile Archive 1933-1945? How does the public of the exile stations (e.g. newspapers, programme booklets etc.) reflect her activities and what circumstances lead to the fact that there is now an available recording of her, e.g. on the Archiphon album: "Own Compositions, Otto Klemperer. Vol. 4: Piano & Vocal", ARC-WU154).
In order to pursue these questions using the above scene as an example, I will firstly undertake a performance analysis of the music theatre excerpt that is informed by theatre studies and sensitive to intertextual elements. The second level requires a cultural-historical source interpretation of the documents relevant to the scene excerpt. Thirdly, I will analyse the historical and contemporary context of the sources in order to show how these three levels shape the remembering and forgetting of Maria Schacko today.

Lina Blum is studying for a Master's degree in Musicology and a Master of Education in Music and English at the University of Oldenburg. She completed her Bachelor's degree in 2018 with a thesis on the "performativity of the voice". From 2013, she studied music and English as a teacher in Oldenburg. Since October 2017, she has been working as a student assistant in the Emmy Noether junior research group "Music History on Stage", which is led by Dr Anna Langenbruch. With a Fulbright Scholarship, she was able to study at the University of Northern Colorado in the winter semester 2015/16. From 2014-2015, she worked as a student assistant in Prof Dr Melanie Unseld's gender research team. She presented her master's thesis project on remembering and forgetting exiled female singers as a poster at the last GfM conference. The corresponding publication in the yearbook Music and Gender is currently in the editing process.

In 2018, I decided to give my mum - who shares my love of music - a 'musical' advent calendar. I had lots of ideas, but there wasn't one that stood out enough for me to think it would be ideal. Then, during a seminar session in which we were talking about the composer Ethel Smyth, I had a flash of inspiration that I made the basis of my calendar: every day I would introduce a composer and give an insight into her life and work with a short biography and an audio sample. The project presented me with two fundamental problems. Firstly, apart from Clara Schumann, Fanny Hensel and the newly introduced Ethel Smyth, I hardly knew any other female composers, and certainly not enough to fill 24 calendar pages. Secondly, I feared that it would be difficult to obtain audio examples of all the female composers.

The intensive research that followed quickly opened up the extensive world of female composers to me and is still with me today. I quickly found 24 female composers for an Advent calendar and soon realised that I could easily fill more than ten such calendars. In two years of internet research, I read countless articles and collected names, initially all handwritten - later in an Excel spreadsheet, which now contains over 2000 names of female composers from the entire last millennium and from a wide variety of nationalities.

I would like to report on my research and the resulting catalogue. On the one hand, I would like to show what an interested layperson can find when searching the Internet for information on female composers. On the other hand, I would like to emphasise some special features that I have come across. So far I have only dealt with women composers who have already died. So there are still many women composers to be discovered and my work is far from complete. I would therefore also like to present my next steps in the search for (sometimes forgotten) female composers.

Johannes Dörr (born 1996) has been studying music and philosophy as well as musicology at the University of Oldenburg since 2015. BA thesis on narrativity in music using the example of Richard Wagner's Tannhäuser Overture. Focus of interest since winter 2017: female composers. Since July 2020 research within the framework of forschen@studium on the topic of music teaching in times of contact restrictions and Corona. Since September 2020 student assistant in the Emmy Noether junior research group "Music History on Stage" (Head: Dr Anna Langenbruch). Topic of the Master's thesis (planned for WS 2020/21) is not yet fixed, but probably a thematic link to female composers and their work.

There have been great strides since the early 1990's in gender focused musicology regarding the integration of female composers into the contemporary musical canon. However, one cannot ignore the fact that mainstream musical canon practices and performance practices remain largely unchanged (Macarthur 2010). While some efforts have proven successful, I argue that we need to update our approaches in order to more effectively integrate female composers into musical canon and performance practices, while trying to avoid inadvertently further marginalising them and/or dissuading people from being open to them during our efforts to do the exact opposite. My presentation will focus on the concept behind my doctoral thesis Sounds, Songs, and Silence: The influence of WWI on composers in France (working title) as an example of a modified approach. I will not only discuss the ways in which my dissertation has purposefully been structured to integrate female composers with the intent of minimal negative backlash, but also how utilization of the theory Guerilla Gender Musicology (VanderHart and Gower, 2020) can help inform our decisions as musicologists (as well as music practitioners, and pedagogues) in order to more effectively and permanently change the representation of female composers in mainstream musical canon and performance practices.

Abigail Gower is a PhD student in Historical Musicology at the University of Music and Performing Arts Vienna. She originally comes from a performance background, having previously received a Bachelor's degree in piano performance and a Master's degree in collaborative piano. Last year, Gower's research into the relationship between World War I and musical culture in Paris has been presented in international conferences at Sorbonne Université in Paris, and the Universität für Musik und Darstellende Kunst Wien. This year she has been the recipient of scholarships for her dissertation from the Hochschule für Musik Theater und Medien Hannover's research centre Musik und Gender through the Mariann Steegmann Foundation. As part of a seperate collaboration, Gower and VanderHart's article Shifting Identities of Feminism to Challenge Classical Music Canon Practices: A Beginners Guide to Guerrilla Gender Musicology, is forthcoming in an MDPI Books publication.

Stefanie Acquavella-Rauch studied musicology, historical auxiliary sciences and English/linguistics as well as psychology at the Philipps University of Marburg. From 2004 to 2008, she completed her doctoral studies at the same university (dissertation title: Arnold Schönberg's working methods - artistic genesis and creative process). In 2009, she was a research assistant in the project "Opera - Spectrum of European Music Theatre", and from 2009 to 2016, she was an Academic Councillor and Senior Councillor at the Musicology Department of Paderborn University and the Detmold University of Music. In 2016, she completed her habilitation at the University of Paderborn (title of habilitation: Musikgeschichten: Von vergessenen Musikern und 'verlorenen' Residenzen im 18. Jahrhundert. Amateurs and court musicians - Edinburgh and Hanover). Since 2016, she has also been (junior) professor of musicology at Johannes Gutenberg University Mainz and in the project "Christoph Willibald Gluck - Complete Works" of the Academy of Sciences and Literature Mainz, successfully completed the interim evaluation in 2019 and was accepted as an associate member of the Gutenberg Academy in the same year.

Anke Charton, TT Professor for "Theatre and Society" at the Institute for Theatre, Film and Media Studies at the University of Vienna. Studied theatre studies and German language and literature in Leipzig, Bologna and Berkeley, doctorate in opera and gender history. Positions at the Hochschule für Musik Detmold and the Hochschule für Musik und Theater Hamburg. Main areas of research and publication: Gender studies, singing history and early modern research.

Rebecca Grotjahn studied music and German as a teacher, singing and musicology in Hanover and completed her doctorate at the Hanover University of Music, Theatre and Media in 1998. After her habilitation in 2004 at the University of Oldenburg, she became Professor of Musicology with a focus on gender research at the Musicology Department of the University of Paderborn and the Detmold University of Music in 2006. Since 2016, she has headed the DFG project Technologies of Singing (together with Malte Kob and Karin Martensen). Research focus: History of singing and singers, media history, history of everyday life, music and material culture, song and lieder singing, Robert and Clara Schumann, Johann Sebastian Bach. Most recent book publication: Das Geschlecht musikalischer Dinge, edited by Rebecca Grotjahn, Sarah Schauberger, Johanna Imm and Nina Jaeschke (= Jahrbuch Musik und Gender 11 [2018]), Hildesheim 2018.

Christina Richter-Ibáñez (born 1979) is an academic assistant at the Institute of Musicology at the University of Tübingen and is working on a research project on the translation of music bound to language. She previously worked at the Paris Lodron University of Salzburg in the inter-university research project Music and Migration, at the University of Tübingen and at the State University of Music and Performing Arts Stuttgart in teaching and research. She was honoured with the work Mauricio Kagel's Buenos Aires (1946-1957). Kulturpolitik - Künstlernetzwerk - Kompositionen (Bielefeld 2014) in Stuttgart.

Ariane Jeßulat (born 1968), studied at the Berlin University of the Arts, after teaching there and working at the Humboldt University in Berlin, she has been a professor at the Würzburg University of Music since 2004 and a member of the Institute for Music Research at the Julius-Maximilians-Universität Würzburg since 2014. Professor of Music Theory since summer 2015 and First Vice President at the Berlin University of the Arts since August 2020. Doctorate 1999 at the UdK Berlin. Habilitation 2011 at the Humboldt University of Berlin. Publications on questions of music theory, the music of Richard Wagner and music after 1950. Since 1989 permanent work in the ensemble for contemporary and experimental music die maulwerker, founded by Dieter Schnebel.

Elisabeth Treydte, since 2019 research associate at the archive Frau und Musik / Frankfurt a. M. with the project "Wir geben den Ton an! Equal opportunities for female composers" (funded by the Mariann Steegmann Foundation). Studied musicology, German and Romance studies in Frankfurt a. M. and Vienna. 2014-2020 research assistant at the University of Music and Theatre Hamburg. PhD on the gender-specific praxeology of contemporary composers in progress.

Silke Wenzel first studied historical dance in Paris and then musicology, music practice, Romance studies and archaeology in Weimar and Jena; she received her doctorate from the University of Hamburg in 2013. She is editor of the portal "Music and Gender on the Internet" (MUGI) and also a "Teaching staff for special tasks" at the Hamburg University of Music and Theatre. In this context, she has established the regular four-semester lecture "Music History International" at the university and has also specialised in transnational content in the subject of musicology (e.g. with seminars on the intangible cultural heritage of UNESCO, on music in world exhibitions, on musical writing systems or (in the coming semester) on transcontinental music paths in the context of missionisation and colonisation.