The purpose of this dissertation is to trace the significance and separate fields of public musical activity of professional women instrumentalists with a special focus on ladies' orchestras until 1921 when women were enfranchised in Sweden. After this the course of development of ladies' orchestras until their decline in the 1940's is followed exclusively. Aspects of social reality and the 'spirit of the times' are analysed in order to cast light on the special situation of women musicians in a cultural sphere dominated by males whose power to define cultural norms has since resulted in the almost total disappearance of women from the musico-historical record.