ABSTRACT
The twentieth century marked a dramatic expansion in compositional activity for women. The increased opening of conservatory classes to women began a period of unprecedented access to music theory and orchestration course - work-critical knowledge required of composers. To make a living as a com - poser, however, it takes more than musical ability and education. In many ways, non-musical aspects of the composition profession in the twentieth century were even more difficult for women to attain, and thus delayed the full integration of women into the compositional world for much of the century. While many composers earned a living as college and university professors in the first half of the century, those positions remained largely closed to women. Composers also relied on fellowships, prizes, and commis - sions to make a living, but the type of mentoring that guides aspiring composers to that type of funding was also connected to the university system. Composer Libby Larsen indicated that even as late as the 1970s, “The little kinds of support that men received from mentors were withheld from women, because there was genuine doubt that women could think compositionally.”1
