Abstract
Peggy Glanville-Hicks (1912-90) is one of only a handful of women who has gained an international reputation in the craft of composition. Her many years in Europe and America probably explain why this Australian never achieved — until very recently — the same recognition at home. This belated acknowledgement of “P.G.-H.” (as she was affectionately known) is due to a number of factors: the increasing awareness of the role women play in music, the post-bicentenary interest in Australian music, and the current wide acceptability of music like hers, with preeminent rhythm and melody and no audience-alienating astringency.