Sarah Anna Glover (1786-1867) is increasingly recognised as the only woman solely responsible for a complete and successful class music pedagogy which involved the provision of pedagogy, materials, classroom devices, and the training of teachers. For many years this was not the case. One of the most glaring examples has been her misnaming and the gradual erosion of her presence across the late nineteenth and twentieth centuries. Glover is not alone in losing her individuality and place in history. In diverse times and cultures, women often lost their identity as typified by the erasure of their name and contributions. Applying historical research methodology, this paper explores how Sarah lost her name, becoming “Elizabeth” through error and repetition. As well as her name, her vital contribution to music education pedagogy and practice was downplayed to the point of erasure. This historical pursuit begins with the most recent misnamings and misrepresentations, then moves back through time to locate foundational mistakes. Recognising the contribution of music education pioneers is important, particularly those who made remarkable contributions but who were at times relegated to obscurity. This research is an example of revisionist historical research that identifies and reclaims identity, building bridges to our shared legacy that underpins both the Tonic Sol-fa Method and the Kodály approach.