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.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
