In contemporary Swedish music education, the electric guitar is widely recognised as a legitimate instrument within higher education. However, this has not always been the case. When the electric guitar emerged in the 1950s, propelled by the American music industry and Hollywood films, it was often seen as controversial and subversive. Its political significance became especially clear during the 1960s, culminating in Jimi Hendrix’s distorted rendition of The Star-Spangled Banner at Woodstock in 1969. Even the classical guitar faced doubts as a serious instrument and only gained acceptance in Swedish music academies during the 1960s, largely due to the pioneering efforts of Per-Olof Johnson. It was not until 1978 that the electric guitar was formally incorporated into Swedish higher music education, as part of a political initiative to support underrepresented genres. This development was driven by the Swedish government’s establishment of OMUS – the Organizational Committee for Higher Music Education – and Jan Ling’s launch of the experimental programme SÄMUS (Special Subject Education in Music), which influenced music teacher training across Sweden’s six music colleges. SÄMUS included radical and activist elements, such as mass meetings and a notable occupation of Kungstorget in Gothenburg in 1976, organised in collaboration with the cultural centre Sprängkullen. This paper examines the emancipation of the electric guitar within Swedish higher music education, analysing its trajectory in relation to educational policy decisions. Using a theoretical framework, the study identifies genre-specific attributes and organisational structures that show the instrument’s evolution—from creative experimentation and local practices to industrial breakthrough and eventual institutionalisation. Methodologically, the research draws on literature studies of guitar pedagogy textbooks, televised music education programmes, films, recordings, and interviews with prominent Swedish guitarists. The study compares historical perspectives, such as Plato’s promotion of the kithara in ancient Greece to prepare future guardians of civilisation, and the 16th-century Spanish preference for the vihuela over the lute, which was linked to Moorish culture. The results suggest that the guitar’s development has been driven by creative innovation influenced by external political factors. As the electric guitar gained more acceptance in higher education, it has become increasingly domesticated and integrated into institutions. The findings also indicate that the electric guitar’s growth follows a genre pathway shaped by creative innovation and political influences. As it gained popularity in academic settings, it shifted from a symbol of rebellion to a domesticated and institutionalised instrument for musical teaching.