Antebellum America expected women to be many things: mother, wife, protector and mourner among others. It is rare indeed that this list of vocations include composer or lyricist, especially as a profession. Nineteenth century social standards dictated that a woman’s abilities as a musician were noble pursuits, only to be used in the privacy of the home. Entertaining guests with pretty songs and poetry was expected, but extending this talent outside of their residence was not acceptable in polite society. Those considered well-bred attended operas and performances, but behaviors of women at these events were to be demure and respectable. Although women performers were popular attractions, such as Jenny Lind and Anna Bush, protecting her ‘reputation’ was important above all things, even her craft. The Civil War marked a great change in this process as women began publishing and noting musical successes on their own terms. We look at examples here of women contributing as lyricist and composer during the Civil War period and contrast these productions to the expectations often expressed by society and by numerous other songs circulating the nation at the time. These creations are emotive, rousing and indicative of the talent women composers had, and continue to have, even after the conflict ended.