Feminist musicology in Croatian context has not experienced systematic development, yet it came in touch with those issues only through individual efforts, with a yield of Koraljka Kos as perhaps the most significant one that occurred parallel with the initial phase of the feminist musicology debate in the English-speaking world. This paper attempts to reconstruct the traces of feminist thought within the Croatian musicology even before that time, discussing the writings of two personalities whose image, each in its own way, was created and conditioned during the history of this very musicology. Regarded as the father of Croatian musicology, Franjo Ksaver Kuhač promoted the idea of music as an expression of the national identity, while in the work of Antonija Kassowitz-Cvijić what is being recognized by musicology is merely weak women's writing, marked by excessive sentimentality and as such situated on the verge of, if not completely outside of the scholarly study of music. These two images, emerged through history of reception of both Kuhač’s and Kassowitz-Cvijić’s writings, are therefore being reexamined and reconsidered in this thesis. It is shown how the writings of Franjo Ksaver Kuhač in some way manage to escape its own misogyny. On the other hand, the thesis proposes redefinition and reevaluation of Antonija Kassowitz-Cvijić’s work, both as a writer and as a feminist activist.