Abstract
Recent disciplinary histories in musicology have ignored any possible contribution of women during the field's formative years. Nevertheless, women were active as musicologists in Germany in the late nineteenth century, as witnessed in the scholarly work of Lina Ramann and Marie Lipsius (La Mara). Excluded from advanced musicological study of canonic topics, they independently turned their scholarly interests and talents toward study of the most commanding, if also controversial, figure of the time: Franz Liszt. His feminization by opponents made this act by Ramann and La Mara doubly transgressive. However, it was just this Liszt that allowed them to write themselves, even as they engaged in musicological work. It is no coincidence that both scholars, who were known in their day as having long‐term same‐sex partners, created a Liszt in harmony with their own subject positions.
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