In a classical music world that continues to be dominated by male voices, the Compose Like a Girl Initiative is helping rewrite the narrative. Founded by composer Jocelyn Hagen, this program provides mentorship, visibility, and support for female-identifying composers.
In this interview, LunART dives into the involvement of Addison Struckman, a composer and
advocate for women in music, and a participant of the 2024 LunART Composers Hub Cohort. Struckman is a key member of the initiative and has seen firsthand the power of this platform. Through her work with Compose Like a Girl, Struckman is contributing to a much-needed shift in the classical music community, ensuring that women’s voices are heard and celebrated.
Struckman’s musical journey began in Chesterfield, Missouri, where she grew up surrounded by music. Her mother, a pianist, opened 89th Key Music Studio, which provided Struckman with a unique opportunity to study a wide range of instruments—piano, voice, drums, guitar, and ukulele—under the guidance of various teachers.
“I am so grateful to have spent so much time in such a diverse musical environment with so many opportunities to explore new instruments and ideas in music,” Struckman reflects.
Her path to composition, however, solidified when she was in high school. Struckman recalls,
“What really sealed the deal on composition was my choir teacher allowing me to experiment in writing my own a cappella arrangement for a Plain White T’s song for the women’s chamber choir at my high school! I had so much fun doing this and really wanted to learn more about how to write for instruments I’ve never played before!”
As a composer, Struckman’s work covers a wide range of genres, often deeply influenced by personal experience. One of her most intimate projects is an album she’s currently working on about grief, following the tragic loss of her partner, Parker, nearly three years ago.
“There are many details of this experience that truly cannot be put into words, and there are infinitely more layers to the stages of grief than are advertised,” Struckman explains.
Struckman hopes that the album can offer comfort to listeners who have experienced similar loss, reminding them that it’s okay not to have all the answers when dealing with grief.
“The world does stop turning for whoever saw that person somewhere in their future, and some emotions will never go away when you think about the dreams that person had or dreams that you shared too.”
Struckman’s own connection to Compose Like a Girl began through her work with Graphite Publishing, through which the Compose Like a Girl Choral Series is distributed. She credits Jocelyn Hagen, the co-founder of Graphite Publishing and founder of Compose Like a Girl, with inspiring her to get involved in the initiative. Struckman fondly remembers the first time she encountered Hagen’s work.
“Jocelyn Hagen has been a huge inspiration for me for awhile now ever since I sang her choral work Flight in college, and I am so grateful to now be working with her and her team!”
Her connections to the world of women composers didn’t stop there, as Hagen actually
encouraged Struckman to apply to more competitions, she stumbled upon LunART’s Composer’s Hub program.
“Watching the videos from previous attendees and reading about everything included in the program and LunART as an organization made me very excited and hopeful about participating in the Composer’s Hub program,” she recalls.
In 2024, Struckman won herself a spot in the cohort with her encapsulating piece, When the World is Quiet for SATB choir ensemble and piano. The judges were floored by her ability to reframe relatable concepts into one-of-a-kind experiences with her colorful storytelling. In many ways, the Compose Like a Girl initiative and LunART both strive for similar conversations in uplifting women composers. Struckman shares her thoughts on the 2024 LunART Festival:
“It ended up being such a well-rounded and valuable week of learning and connecting with other female composers! I feel more confident in sharing and speaking about my work, leading rehearsals, and navigating the copyright, royalties, and business side of composition!”
Struckman also emphasizes the importance of the honest and transparent conversations that take place on the Compose Like a Girl Podcast, where women share their experiences in the field, students, and established composers alike.
“A part of me heals every time I hear a story similar to things I have experienced myself as I have tried to navigate the music and composition world,” Struckman shares.
“I wasn’t crazy! It isn’t normal to feel out of place and like you are not good enough when pursuing something you are so passionate about.”
Struckman’s day-to-day work with Compose Like a Girl is diverse and integral to the initiative’s success. She handles social media content creation, podcast companion materials, email outreach, mentee communications, and much more. Despite the wide range of responsibilities, Struckman finds great fulfillment in contributing to the mission of the initiative.
One of the primary challenges that female-identifying composers face, according to Struckman, is the overwhelming lack of representation in educational settings.
“I believe it all starts in the classroom where female-identifying composers are likely outnumbered. Composition is a daunting field to pursue, and there is a sophistication and pretentiousness about it that isn't always welcoming.”
Struckman also highlights the emotional vulnerability that comes with composing, and how crucial it is for women to have a supportive and encouraging environment.
“Sharing your writing with others is extremely vulnerable and should be approached in a gentle and supportive manner,” Struckman notes. “Ideas, advice, and tools can be shared without a condescending tone or a need to prove your own knowledge, and are received better that way too.”
A standout aspect of the Compose Like a Girl Choral Series is that the composers involved receive 50% of the royalties from sales, which Struckman views as a crucial step in ensuring fair compensation for women composers.
“Fair compensation is incredibly important to me, and the 50/50 split of royalties should be available to all composers, even those who are new to the field,” she states.
For Struckman, this model is a powerful way to empower emerging composers and provide them with the foundation and support they need to grow their careers successfully.
Being part of the Compose Like a Girl community has been transformative for Struckman’s own compositional approach. The wisdom and creativity of other composers in the initiative have provided her with new perspectives and techniques that she’s excited to incorporate into her own work.
“I am more and more inspired by these composers within the initiative every single day!” she says.
She also mentions learning from the shared experiences of other women who balance composing with other aspects of life.
“They have shared many ideas about their writing process, wisdom on balancing motherhood with their careers, and many resources on royalties, commissioning, contracts, and collaboration!”
Struckman has even been inspired by the unique approaches of other composers featured on the Compose Like a Girl Podcast. For example, she was fascinated by Emily Drum’s approach to writing entirely through recording vocals rather than using traditional sheet music.
“...she writes entirely through recording vocals and has never written anything on physical paper! This is just one example of something new I am excited to try and see if it changes the way my ideas flow,” Struckman says.
Through her personal journey and her contributions to the initiative, Struckman is not only reshaping the classical music landscape but also helping create a more inclusive and supportive environment for future generations of women composers. By offering fair compensation, fostering community, and promoting transparent conversations, Compose Like a Girl continues to play a crucial role in amplifying women’s voices and ensuring their stories are heard. Struckman’s involvement in both the transformative organizations of Compose Like a Girl and LunART proves that when women lift each other up, they can truly change the narrative of an entire industry.
P.S. Here are some fun facts about Addison Struckman!
Favorite color: Maroon
Favorite season: Fall
One of Addison’s top listened-to artists: Coldplay
Addison’s favorite things to do outside of music: Travel, play with her dog Kova, go to Blues hockey games, watch Survivor with her family, swing dance, rock climb, kayak, hike, read, complete DIY projects with a movie or show in the background, and play pickleball and tennis!
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Article by Emma Bijelić
Emma Bijelić is currently a junior at the Mead Witter School of Music, the University of Wisconsin-Madison pursuing a Bachelor’s in Communications and Music Composition with an emphasis in Flute Studies. She studied flute performance under Dr. Conor Nelson for a portion of her undergrad, and now studies composition under the leadership of Dr. Laura Elise Schwendinger. In addition to her work with LunART, Emma enjoys volunteering at animal shelters, crocheting, learning new music, and nerding out about film.
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