Among women composers circa 1600–1750, a handful of names are well known today: among these are Francesca Caccini (1587–after 1641), Barbara Strozzi (1619–77), and Elisabeth-Claude Jacquet de la Guerre (1665–1729), all of whom composed a large quantity of music, published substantial books of their compositions, and were recognized by authoritative (most often male) musicians, critics, and listeners. Their music appears in concert programmes and recordings, and they may be understood to form part of a canon of women composers from the Baroque era. Recognition of these prominent women (if not yet widespread familiarity with their work) is surely a triumph of feminist musicology and performance in the past forty years.

Yet the attention paid to these prominent women has yielded a misunderstanding of women’s compositional practice during the period – namely that only a handful of women engaged in composition.