In its pursuit of a sonic democracy, this dissertation seeks to disrupt, critique, and redefine historical narratives. Reflecting on the historically gendered nature of percussion within Western Art Music, this dissertation converges sonic speculation, feminist and post-humanist theory, historiographic and musical analysis, companion thinking and anti-racist discourses, to explore the complexities of gender dynamics and narratives of historical exclusion within the percussion canon. Woven throughout and anchored in literary texts from scholars such as Audre Lorde, Karen Barad, Julietta Singh, and Donna Haraway, I challenge dominant narratives of mastery and historical representations of percussion performance practice throughout the 20th Century. Tracing feminist genealogies and reimagining the works of composers Lucia Dlugoszewski, Maryanne Amacher, and Eleanor Hovda, this dissertation elucidates their often-overlooked contributions to the percussion canon, highlighting their entanglements with metaphor, perception, and feminist sensibilities. I focus on illustrating their informal and personalized percussion disciplines as a means of liberation, showcasing how, as outliers, they fearlessly challenged traditional power structures. As I trace feminist genealogies, I contextualize my own artistic endeavors, envisioning my composition Between Structures as part of an evolving narrative of feminist creativity. Furthermore, adopting a self-reflexive tone, I investigate the intersection of kinship and feminist subjectivity, employing a practice-based research methodology to analyze the intricate musical layers of Between Structures.