Abstract
Since ancient times, musical and poetic creativity in Turko-Mongolian nomadic cultures – including that of the Kazakhs – has functioned as a relatively gender-inclusive sphere. Kazakh women, alongside men, historically participated in the musical culture as bearers of sacred (baksy), vocal (akyn), epic (zhyrau), and instrumental (kuishi) traditions. This legacy continues to shape contemporary musical culture in Kazakhstan. However, ongoing gender disparities in other areas of socio-political life may still limit the time and opportunities available to women for creative self-realisation. This article examines how the ambivalence between cultural equality and structural inequality has influenced the careers and artistic identities of contemporary Kazakh women composers. Drawing on interviews and case studies, the research explores the extent to which gender influences their compositional style and professional trajectories. Statistical analysis reveals that since the early 20th century, women have accounted for 21.9% of Kazakh composers, a figure significantly higher than the global average. Furthermore, this proportion has grown steadily in recent decades. Importantly, the gender dimension of composition in Kazakhstan has not previously been compared to other cultural contexts. This study adopts an interdisciplinary approach rooted in the humanities, and integrating methods from music history, cultural studies, sociology and gender theory. It also incorporates musical-sociological tools such as statistical, sampling, and graphic analysis. Despite challenges in obtaining comprehensive data, the analysis of sources – including Grove Music Online, The Living Composers Project, Wikipedia, and composer unions in Kazakhstan, Russia, Belarus, and Turkic-speaking Central Asian countries – reveals Kazakhstan’s distinctive profile in terms of gender representation in composition.