Abstract
Composing and conducting are perhaps the most male-identified of music's disciplines. Though prizes to women for composition are few, they have won many prestigious awards within the past thirty years. These include the Pulitzer, Grawemeyer, Koussevitsky, Friedheim, Fromm, Guggenheim, and Prix de Rome awards. This article examines the importance of composition prizes in the careers of women and considers the self-perpetuating and interlocking network of institutional hierarchies that award these prizes.
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