ABSTRACT
Opening course content to the full range of sound technology history makes the syllabus more inclusive of artistic and technical voices that had largely been excluded from the canon and texts of electronic music history. The goal of the course redesign was to reframe electronic music history within the wider context of the development of sound technology, driven by opportunities in the field and student interests. Seeing course content in this way is an opportunity to unearth electronic music as a phenomenon that is really about the creative uses of sound tools, more than strictly musical applications of electricity. With a few exceptions History and Literature of Sound Arts has essentially been a straightforward electronic music history course, with material primarily from the Western music canon. To reaffirm the identity of Sound Arts as more than exclusively music, there needed to be a concerted effort to broaden the day-to-day course material.
