I have recently been the coauthor of a music history textbook, which Bachelor music programs at universities and conservatories in Norway currently use. With a background from early music performance as well as gender research, I felt it necessary to include both of these aspects, while comprising this book, even though this has not been commonplace in other textbooks. While writing the chapters on music from the 17th and 18th centuries, I decided then to shift the focus from a composerbased music story, by letting the genres be the decisive factors, and I included relevant performance practice issues as well as gender issues when discussing the musical examples. My main question was what do we, as performers, need to add to the score for it to make sense? The answer to this and other questions became for many of the students their first introduction to historically informed performance and made the students aware of not only the problem of notating music, but also they got to know a repertoire which they most probably would not have been able to stumble across on their own. This paper will present reflections on how to present performance practice issues as well as gender aspects, in a regular music history class, as well as problematizing music history teaching in general.