Abstract Polish women-composers of the interwar period (1918–1939) have not been the subject of adequate research so far. We only have some contributory publications and general surveys dedicated to their output. This paper presents the initial results of a study that aims at creating a more multi-sided, in-depth picture of women-composers’ work, including their participation in local and international music life as well as their achievements in the field of composition, the styles and genres practised by selected representatives of this milieu. The paper also discusses the reception of these phenomena in the press of the period. My research leads me to the conclusion that, despite functioning in a kind of ‘parallel world’ in relation to the virtually all-male domain of music composition ‘proper’, the Polish women-composers did penetrate into that world, contributing to its dominant trends and tendencies, from Romantic inspirations to musical modernism, as well as popular music. Their contributions need to be taken into account if we wish fully to reconstruct and appreciate the Polish music created in that period.

中文翻译：

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“为什么我们的女作曲家鲜为人知？”

摘要 两次世界大战期间（1918-1939 年）的波兰女性作曲家迄今尚未成为充分研究的主题。我们只有一些贡献性出版物和一般性调查专门针对他们的产出。本文介绍了一项研究的初步结果，该研究旨在从多方面、更深入地了解女性作曲家的工作，包括她们对本地和国际音乐生活的参与以及她们在作曲领域的成就，这种环境的选定代表所实践的风格和流派。论文还讨论了当时报刊对这些现象的接受程度。我的研究使我得出结论，尽管在与几乎全男性的音乐作品“适当”领域相关的“平行世界”中运作，波兰女作曲家确实渗透到了那个世界，促成了它的主导趋势和趋势，从浪漫主义灵感到音乐现代主义，以及流行音乐。如果我们希望充分重建和欣赏那个时期创造的波兰音乐，就需要考虑到他们的贡献。