The first women who performed in orchestral settings were harpists who were substitute or extra players specifically hired for works requiring harp, such as Gustav Mahler’s symphonies or Maurice Ravel’s La Valse (c. 1919). It was not until flutist Doriot Anthony Dwyer won the principal flute position in the BSO in 1952 that a woman was hired as a principal player of a major US orchestra. Following Dwyer’s lead, more women slowly earned their acceptance in professional orchestras. Focusing on the time period 1920-1950, three of the first pioneers who gained acceptance into American orchestras and were the first female orchestral players were flutists Doriot Anthony Dwyer, Lois Schaefer, and Frances Blaisdell. These women lived extraordinary lives and have inspired many generations of female flutists to continue in their footsteps pursuing their own orchestral and professional solo careers. One significant factor for the eventual increase of female musicians in the modern orchestra was the establishment of blind auditions. A blind audition is where a player performs behind a screen for an audition committee to preserve anonymity. Screens can be made of heavy cloth or a room divider that separates the player from the panel of orchestra members critiquing potential hires. This can often include the music director and other musicians. The screen conceals each player’s identity and allows the panel to focus their listening on how a candidate actually sounds versus how they may look and act while playing. Limiting stimuli to aural perception would help to mitigate bias or prejudice against race, gender, or age through the audition process.