Germaine Tailleferre (1892-1983) is known in musicological scholarship primarily for the few years that she spent as the only woman in Les Six, a group of six Parisian composers who performed together and collaborated in the 1910s and 1920s. Though her membership in this group was salient in shaping her career, her gender and the particular meaning that it acquired within accounts and assessments of Les Six have come to define her to the exclusion of her later activities. Additionally, misogynistic stereotypes about female composers and androcentric musicological value systems that favor innovation and autonomy have hierarchized the members of Les Six such that Tailleferre has long been considered among the least significant members of the group. My dissertation addresses these issues by systematically examining literature on Tailleferre and on Les Six in order to document the role of misogyny and androcentrism, and by positing a compensatory gynocentric approach that both opens Tailleferre's post-Les Six oeuvre for examination and offers opportunities for valuing her music beyond the restrictive agendas of androcentric musicology. This approach allows for my rich discussions of Tailleferre's 1923 ballet Le marchand d'oiseaux (The Bird Merchant) and 1929 song cycle Six chansons françaises (Six French Songs), two significant but relatively unexamined works that, as I show, were central to Tailleferre's professional and personal development. My studies offer not only thorough analyses of all aspects of the works, but also opportunities to better understand ballet, gender, and modernism in the 1920s, in the case of Le marchand d'oiseaux, and to explore music as a tool for recovering from trauma, in the case of the Six chansons françaises.