The music world loves to talk about creativity, innovation, and inclusivity. Yet a quick look at many composition contests and calls for scores reveals a troubling contradiction: countless opportunities are restricted to “young composers,” usually capped at 30, 35, or sometimes 40 years old. These age limits are presented as natural, even benevolent—“supporting emerging talent”—but in truth, they enforce a rigid barrier that is both discriminatory and damaging to the field.