At a time when the stereotype of the academic musician responded only to European male roles, a significant number of women were interested in composing music through contemporary languages, opting for a disruptive attitude towards the sonority of concert music in Latin America between the 1960s and 1970s. Her compositions have not always been analyzed from the condition of testimony of an activity that expresses the questions of the feminine gender in the field of experimental composition. Their presence in concert programs, as well as the sonority itself, might be units of analysis for a research that aims to learn about the conditions of musical production and dissemination that surrounded those decades in relation to issues inherent to the female gender. However, this situation seems to be unknown to the specific bibliography, the press, the critics and the specialized public.
