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How do the innovations of women making electronic music complicate notions of listening, music history, and the nature of music? Instead of conceptualizing gender and technology as discrete, oppositional, and universally open, this seminar explores electronic music through the lens of feminist critical frameworks and musical analyses in tandem with models of listening – notably Deep Listening as promulgated by Pauline Oliveros and Hildegard Westerkamp's approach to "conscious listening." Inspired and guided by Tara Rodgers' seminal anthology of interviews, Pink Noises: Women on Electronic Music and Sound, we discuss the work, struggles, triumphs, and techniques of pioneers including Daphne Oram, Pauline Oliveros, Wendy Carlos, Ruth Anderson, and Adrian Piper. We will also examine contemporary innovators and cyberfeminist speculative futures. Along with readings and seminar discussion, course activities include research presentations, listening sessions, brief performances, and composition projects.