This chapter marks a moment of dynamic change: it weaves several dissonant ideas into the richly textured fabric of women’s ‘new’ art music. It explores the kinds of transformations that become possible when music is rethought as a mapping that is theoretically based and politically situated. It discusses three female composers and their music – the Russian Sofia Gubaidulina (b. 1931), the expatriate Uzbekistanian Elena Kats-Chernin (b. 1957) and the Australian Anne Boyd (b. 1946) – and their music, utilising, in a feminist-Deleuzian analysis, two dynamic senses of movement. These are, to draw on Colebrook, ‘a double politics of the molar and the molecular’.1 Applied to music, the concept of the molar, as discussed in the Introduction, refers to a rigid, structural organisation which corresponds to the norm. The concept of the molar is exemplified in the work of composers with majority status in the music world. It allows me to consider the specificities of women’s music while invoking the concept of the molecular to imagine the extent to which their music corresponds to or breaks away from the norm, or from the music of the majority. Molecular lines correspond to outsider status and to lines of flight as a process of change or a movement away from the norm. Invoking both these concepts enables me to undertake a reading of women’s music that is imagined as a dynamic movement, as ‘the mobile, ceaseless challenge of becoming’.2