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Beginning in 1925, Coulthard taught the piano privately in her mother's studio, and then as an independent teacher (1935–1947). In 1947 she joined the fledgling Department of Music in the Faculty of Arts of the University of British Columbia. The head of the department, Harry Adaskin, hired first Coulthard, and then (in 1949) Barbara Pentland, to teach theory and composition. Coulthard taught composition in the department, and later (from 1967) in the administratively distinct UBC School of Music (1967–1973). In 1956-7, she spent a year in Paris and in Roquebrune, southern France, beginning an opera and completing several substantial chamber and vocal works. A later sabbatical in London permitted Coulthard to work in a sustained way with Gordon Jacob, the British composer and orchestrator.” https://en.wikipedia.org/wiki/Jean_Coulthard

https://en.wikipedia.org/wiki/Emilie_Mayer

Alice Mary Smith (1839 - 1884) “Smith was a prolific composer of both large and small scale works. Among her compositions are four piano quartets, three string quartets, a clarinet sonata (1870), six concert overtures and two symphonies. Her first symphony, in C minor, was written at the age of 24 and performed by the Musical Society of London in 1863; the second, in A minor, was written for the Alexandra Palace competition of 1876, but was never submitted. Smith composed two large choral works with soloists: an operetta, Gisela of Rüdesheim which was performed in 1865 at the Fitzwilliam Music Society, Cambridge, and The Masque of Pandora (1875), for which the orchestration was never completed.In 1880 she turned her attention towards writing large-scale cantatas, all published by Novello and Co. These included Ode to the North-East Wind for chorus and orchestra, Ode to The Passions (1882), her longest work, performed at the Hereford Festival in that year, and two cantatas for male voices in the last two years of her life. The Valley of Remorse, a setting of a poem by Louisa Sarah Bevington for chorus, soloists and orchestra, remained incomplete at her death, and is lost. Of her forty songs, her most popular work was the vocal duet "Maying".”

“Fanny Mendelssohn (14 November 1805 – 14 May 1847) She composed over 460 pieces of music. Her compositions include a piano trio and several books of solo piano pieces and songs. A number of her songs were originally published under Felix's name in his opus 8 and 9 collections. Her piano works are often in the manner of songs, and many carry the name Lied ohne Worte (Song without Words).” https://en.wikipedia.org/wiki/Fanny_Mendelssohn

Grete von Zieritz (1899 - 2001) “Grete von Zieritz was born in Vienna, Austria into a noble family, and grew up in Vienna, Innsbruck and Graz. She received her first piano lessons at the age of six, and later studied with Hugo Kroemer (piano) and Roderick Mojsisovics (composition). She gave her first concert at age eight.[1]In Berlin, she continued her studies with Martin Krause, a student of Franz Liszt, and Rudolf Maria Breithaupt. After the successful performance of her "Japanese Songs" in 1921, she decided to become a composer. Von Zieritz worked as a music teacher and continued to study in Berlin from 1926 to 1931 under Franz Schreker.[2] In 1939 she was the only woman at the International Music Festival in Frankfurt am Main among composers from 18 nations.[3] In 2009 in Vienna Donaustadt the Zieritzgasse was named after her. She died in Berlin in 2001.[4]” https://en.wikipedia.org/wiki/Grete_von_Zieritz

Nadia Boulanger (1887-1979) “as a French composer, conductor, and teacher. She is notable for having taught many of the leading composers and musicians of the 20th century. She also performed occasionally as a pianist and organist. [...] Boulanger was the first woman to conduct many major orchestras in America and Europe, including the BBC Symphony, Boston Symphony, Hallé, New York Philharmonic and Philadelphia orchestras. She conducted several world premieres, including works by Copland and Stravinsky.” https://en.wikipedia.org/wiki/Nadia_Boulanger

Marie Kiéné was born on 3 March 1786 at Colmar[2] in Alsace. After marrying M. Bigot, she moved to Vienna in 1804, where she lived for five years. She was highly accomplished at the keyboard and played for Haydn, who exclaimed, "Oh, my dear child, I did not write this music – it is you who have composed it!" He wrote on the sheet from which she played, "On 20 February 1805, Joseph Haydn was happy." She became a friend of Salieri. Her husband being the librarian of Count Razumovsky, she became friendly with Beethoven, who admired her playing. She was the first to play for him, from the autograph, his newly written Appassionata Sonata,[3] impressing him so much that he told her, "That is not exactly the character I wanted to give this piece; but go right on. If it is not wholly mine it is something better."[4] He gave her the autograph of the Appassionata.[5] In 1808, after a misunderstanding over Beethoven's invitation to take Marie and her three-year-old daughter, Caroline, for a drive and her refusal, the famous composer sent an apologetic letter to her and her husband, writing, "It is one of my foremost principles never to occupy any other relations than those of friendship with the wife of another man. I should never want to fill my heart with distrust towards those who may chance some day to share my fate with me, and thus destroy the loveliest and purest life for myself."[6] The Bigots returned to Paris in 1809. Marie composed, gave lessons, and did much to introduce Beethoven's music to Parisian audiences.[7] In 1816 she gave lessons to Felix and Fanny Mendelssohn in Paris. She died on 16 September 1820 in Paris, aged 34.[8]” https://en.wikipedia.org/wiki/Marie_Bigot

https://en.wikipedia.org/wiki/Maria_Szymanowska

https://en.wikipedia.org/wiki/Maria_Teresa_Agnesi_Pinottini

Stewart A. Carter. "Isabella Leonarda." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 18 Sep. 2015.<http://www.oxfordmusiconline.com.ezproxy.library.ubc.ca/subscriber/article/grove/music/13920>.

Rosa Giacinta Badalla “(b ?Bergamo, c1660; d Milan, c1710). Italian composer. A Benedictine nun, she took her vows at the musical convent of S Radegonda in Milan about 1678. Her only printed collection, Motetti a voce sola (1684), is notable among contemporary Milanese solo motets for its vocal virtuosity, motivic originality and formal experimentation, with frequent use of ostinato figures and some surprising modulations.” Robert L. Kendrick. "Badalla, Rosa Giacinta." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 18 Sep. 2015.<http://www.oxfordmusiconline.com.ezproxy.library.ubc.ca/subscriber/article/grove/music/01734>.

https://en.wikipedia.org/wiki/Francesca_Caccini

https://en.wikipedia.org/wiki/Daphne_Oram

As a friend of mine so aptly put it regarding this article “First they write women out of history. Then when some one notices there aren't any being taught, they use the fact that there are too few in the written history as an excuse.”

https://en.wikipedia.org/wiki/Kassia