Knowledge base for the ERASMUS+ project Voices of Women (VOW)




performative research, feminist theory, cultural transfer, agents of change


This report builds the knowledge base for the transnational educational project ‘Voices of Women’ ( funded by the European Union. The report situates the VOW project within music and gender research in Norway, The Netherlands, and Germany. It argues for the need to educate agents of change and outlines the VOW approach along four pillars: (1) Performative Research (2) Unheard Songs (3) Cultural Transfer and (4) Feminist Theories. The report documents that transformative pedagogies and innovative practices in the cultural sector can build on a broad knowledge base. The next step is to develop novel methods to educate ourselves and upcoming generations to become active and courageous agents of change.


Download data is not yet available.


Metrics Loading ...

Author Biographies

Lilli Mittner, UiT The Arctic University of Norway

Lilli Mittner is an internationally renowned senior researcher at the Centre for Women's and Gender Research at UiT The Arctic University of Norway. She received her PhD in 2014 from the University of Music, Drama and Media in Hanover with an archival work on the 19th century women composers in Norway. Lilli is currently leading a project on performative historiography ( and a work package on gender equality in academia ( In her projects Lilli develops and conducts high-risk experimental art exploration to create mutual encounters and moments that matter. Her work encompasses further research gender balance, gendered heritage and canon critique, music and gender, voices of women, feminist posthumanist approaches in critical dementia studies, feminist art intervention, gendered quality assessment in higher education and research leadership and gender equality & sustainability.

Lise Meling, University of Stavanger

Lise K. Meling is an associate professor of music at the University of Stavanger, where she teaches music history, performance practice and harpsichord. Her research interests center on women composers and their works as well as the gendered history of musical instruments, particularly the piano. In addition, she is a performer on harpsichord and has lifted works by women composers. 

Janke Klok, Humboldt-Universität zu Berlin, University of Groningen

Dr. Janke Klok (Henrik-Steffens-professor at the Humboldt-Universität zu Berlin 2014-2018, since then attached to the HU and the University of Groningen) has published widely on Scandinavian literature in the field of gender and intercultural studies and initiated, together with prof. dr. Lena Haselmann and dr. Lilli Mittner, the interdisciplinary art research group RESCAPE. She is engaged in the projects ‘Die Korrespondenz des Naturphilosophen Henrik Steffens (1773–1845) (Humboldt-Universität zu Berlin);’ the ERASMUS+ project Voices of Women (Universities of Groningen, Stavanger, Tromsø and Weimar) and ‘Made Abroad: Producing Norwegian World Literature in a Time of Rupture, 1900-50 (National Library Norway).

Bettina Smith, University of Stavanger

Bettina Smith is Professor of Singing at the University of Stavanger, Norway. Bettina has an extensive international career as a performer. She has released five acclaimed solo CDs on Lawo Classics. For her latest release she was nominated female singer of the year by Opus Klassik in Germany. She leads the ERASMUS+ project Voices of Women.


Ahmed, S. (2017). Living a feminist life. Duke University Press. DOI:

Björck, Cecilia. 2011. Claiming Space : Discourses on Gender, Popular Music, and Social Change. Göteborg: Academy of Music and Drama, University of Gothenburg.

Blix, Hilde, and Lilli Mittner. 2019. “Kjønn Og Skjønn I Kunstfagene: Et Balanseprosjekt.” UiT Norges arktiske universitet, Musikkonservatoriet.

Blix, Hilde Synnøve, and Lilli Mittner. 2018. “Balansekunst i utøvende musikkutdanning.” Tidsskrift for kjønnsforskning 42 (01–02): 104–19. DOI:

Boumans, Toni. 2015. Een Schitterend Vergeten Leven : De Eeuw van Frieda Belinfante. Amsterdam: Uitgeverij Balans.

Branlat, Jennifer, Juan Velasquez, and Ingvil Hellstrand. 2022. “Tentacular Classrooms: Feminist Transformative Learning for Thinking and Sensing.” Journal of Transformative Education, February. DOI:

Borchard, Beatrix. 2003. “Lücken Schreiben. Oder: Montage Als Biographisches Verfahren.” In Biographie. Annäherungen an Den Gegenwärtigen Forschungs- Und Diskussionsstand, edited by Hans Erich Bödeker, 213–41. Göttingen: 2003.

Broomans, Petra, and Janke Klok, eds. 2019. Travelling Ideas in the Long Nineteenth Century: On the Waves of Cultural Transfer. Eelde: Barkhuis Publishing. DOI:

Citron, Marcia J. 1991. “Beyond Biography: Seventh International Congress on Women in Music Utrecht, the Netherlands 29 May-2 June 1991. Music and Gender Conference King’s College, London 5-7 July 1991.” Journal of Musicology: A Quarterly Review of Music History, Criticism, Analysis, and Performance Practice 9 (4): 533–43. DOI:

Commission, European, Youth Directorate-General for Education, Sport, et Culture. 2021. “Towards Gender Equality in the Cultural and Creative Sectors: Report of the OMC (Open Method of Coordination) Working Group of Member States’ Experts.” Edited by Amelie Menzel. Publications Office.

Council of the European Union. 2020. “Presidency Conclusions on Gender Equality in the Field of Culture.”

Dahm, Cecilie. 1987. Kvinner Komponerer: Ni Portretter Av Norske Kvinnelige Komponister I Tiden 1840-1930 [Frauen Komponieren: Neun Porträts von Norwegischen Komponistinnen Zwischen 1840-1930] [Women Compose: Nine Portraits of Norwegian Women Composers from 1840 to 1930]. Oslo: Solum.

Fraser, N. (2020). Fortunes of Feminism: From State-Managed Capitalism to Neoliberal Crisis (p. 352). Verso Books.

Grotjahn, Rebecca. 2002. Geschlechterpolaritäten in Der Musikgeschichte Des 18. Bis 20. Jahrhunderts. Herbolzheim: Centaurus.

Hambro, Camilla. 2008. Det Ulmer under Overflaten Agathe Backer Grøndahl (1847-1907); Genus, Sjanger Og Norskhet. Göteborg: University of Gothenburg, Department of Culture, Aesthetics and Media.

Haselmann, Lena. 2018. Agathe Backer Grøndahl – von Norwegen Nach Berlin: Professionelle Musikausbildung Im 19. Jahrhundert. Münster: Waxmann Verlag.

Haselmann, Lena, Janke Klok, and Lilli Mittner, eds. 2019. “Dat Soll Auch Nicht Jehen, Dat Soll Fahren ...” Norwegische Künstlerinnen in Berlin. Berlin: Nordeuropa-Institut der Humboldt-Universität, Band 25.

———. 2021. “Autumn Talk and Ocean Songs Dramatic Assemblage - Methods and Relevante of Perfomative Histography, Kultur, Kunst, Musik.” Musikgeschichte Auf Der Bühne. Performing Music History.

Herresthal, Harald. 1993. Med Spark I Gulvet Og Quinter I Bassen Musikalske Og Politiske Bilder Fra Nasjonalromantikkens Gjennombrudd I Norge. Oslo: Universitetsforlaget.

Hoffmann, Freia. 1991. Instrument Und Körper : Die Musizierende Frau in Der Bürgerlichen Kultur. 1st ed. Frankfurt am Main: Insel Verlag.

Kvalbein, Astrid, and Anne Lorentzen. 2008. Musikk Og Kjønn - I Utakt? Bergen: Kulturrådet.

Kvalbein, Astrid. 2013. Musikalsk Modernisering. Pauline Hall (1890-1969) Som Komponist, Teatermenneske Og Ny Musikk-Leiar [Musikalische Modernisierung. Pauline Hall (1890-1969) Als Komponist, Theatermensch Und Neue Musik-Anführer]. Oslo: Noregs Musikkhøgkole.

Lindhjem, Anna. 1931. Kvinnelige Komponister Og Musikk-Skole-Utgivere I Skandinavien. Frediksstad: Centraltrykkeriet.

Lorentzen, Anne H., and Heidi Stavrum. 2007. “Musikk Og Kjønn: Status i Felt og Forskning.” Bø i Telemark: Telemarksforsking-Bø.

Lund, Signe, Mon Schjelderup, Agathe Backer Grøndahl, Lena Haselmann, Heide Görtz, Lukas Kowalski, Atle Sponberg, and Sergej Osadchuk. 2017. Rastlose Lieder - Werke Norwegischer Komponistinnen. Edited by Lena Haselmann, Janke Klok, and Lilli Mittner. Berlin.

McGee, Kristin. 2022. “Gendered Interventions in European Jazz Festival Programming: Keychanges, Stars, and Alternative Networks.” In Routledge Companion to Jazz and Gender, edited by James Reddan, Monika Herzig, and Michael Kahr. New York: Routledge. DOI:

Meling, Lise Karin. 2014. “Her Story: The Disappearance of Women Composers.” Conference of the International Journal of Arts and Sciences 7 (3): 49–56.

Metzelaar, Helen, ed. 1991. Zes Vrouwelijke Componisten. Amsterdam/Zutphen: Centrum Nederlandse Muziek ; Walburg Pers, in samenwerking met Stichting Vrouw & Muziek.

———. 2002. “What Happened to Women Composers in Dutch Music History?” Canadian Journal of Netherlandic Studies 23 (1): 1–10.

Mittner, Lilli. 2016. Möglichkeitsräume : Studien Zum Kulturellen Handeln Komponierender Frauen Des 19. Jahrhunderts in Norwegen. Hannover: Wehrhahn Verlag.

———. 2018. “‘Students Can Have a Really Powerful Role…’: Understanding Curriculum Transformation within the Framework of Canon Critique and Critical Pedagogy.” Journal for Research in Arts and Sports Education 2 (2). DOI:

Mittner, Lilli, Hilde S. Blix, and Rikke G. Gürgens. 2022. “Sustainable Gender Equality. Opening the Black-Box of Quality Assessment in Higher Arts Education.” In Gender & Sustainability in a Cultural Perspective, edited by Astrid Skjerven and Maureen Fordham. Routledge. doi://10.4324/9781003174257-8. DOI:

Mittner, Lilli, and Hilde Synnøve Blix. 2021. “Career Paths in Higher Music Education : Challenges for Gender Equality in the Arts.” In Gender Issues in Scandinavian Music Education From Stereotypes to Multiple Possibilities, edited by Silje Valde Onsrud, Hilde Synnøve Blix, and Ingeborg Lunde Vestad, 180–96. Routledge. DOI:

Mittner, Lilli, and T. Bergli. 2018. “Music and Gender in Balance Film (#MGB18).” Gender Balance in Art Education Project. 2018.

Mittner, Lilli, L.K. Melin, and K. Maxwell. (forthcoming). “How Can Art Education Contribute to Reach the Sustainable Development Goal ‘Gender Equality’ (SDG5)?” Nordic Journal of Art & Research, (in print).

O’Sullivan, Edmund. 2002. “The Project and Vision of Transformative Education.” In Expanding the Boundaries of Transformative Learning: Essays on Theory and Praxis, edited by Edmund O’Sullivan, Amish Morrell, and Mary Ann O’Connor, 1–12. New York: Palgrave Macmillan US. DOI:

Onsrud, Silje Valde, Hilde Synnøve Blix, and Ingeborg Lunde Vestad. 2021. Gender Issues in Scandinavian Music Education: From Stereotypes to Multiple Possibilities. ISME Series in Music Education. Milton: Taylor and Francis. DOI:

Østern, Tone Pernille, Sofia Jusslin, Kristian Nødtvedt Knudsen, Pauliina Maapalo, and Ingrid Bjørkøy. 2021. “A Performative Paradigm for Post-Qualitative Inquiry.” Qualitative Research, July. DOI:

Rieger, Eva. 1981. Frau, Musik Und Männerherrschaft : Zum Ausschluss Der Deutschen Frau Aus Der Musikpädagogik, Musikwissenschaft Und Musikausübung. Kassel: Furore Verlag.

Rode-Breymann, Susanne, ed. 2007. Orte Der Musik : Kulturelles Handeln von Frauen in Der Stadt. Vol. 3. Köln: Böhlau.

Skovdahl, Ingrid. 2021. “«Føreren Kaller!».” Studia Musicologica Norvegica 47 (1): 73–89. DOI:

Smith, Bettina, and Jan Willem Nelleke. 2021, The Artist’s Secret. LAWO Classics.

Sollied, A. (forthcoming). n.d. 50 Shades of XY: A Compendium of Music Created by Women Composers. Norsk musikkforlag.

Valian, Virginia. 1998. Why so Slow? The Advancement of Women. Cambridge, Massachusetts: The MIT Press. DOI:

Waagaard, Ivar Anton, and Cecilie Rønning, dirs. 2016. Glemte Romancer: Norske Kvinnelige Komponister. Grong musikkproduksjon.

Wang, Meiqin. 2017. “The Socially Engaged Practices of Artists in Contemporary China.” Journal of Visual Art Practice 16 (1): 15–38. DOI:

Green yellow logo for Voices of Women project. Including two heads and notation like resonating waves. © VOW




How to Cite

Mittner, L., Meling, L., Klok, J. ., & Smith, B. (2022). Knowledge base for the ERASMUS+ project Voices of Women (VOW). Septentrio Reports, (1).




Funding data