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When discussing classical music, two dominant perspectives emerge. The first claims that lower social classes with limited cultural capital do not enjoy classical music, while higher classes do. This view stems from the fundamental error of confusing correlation with causation. However, it has widely spread among academics with poor statistical and musical understanding, such as Bourdieu and his followers.

The second perspective argues that classical music is too traditional and no longer relevant to modern times. Its critics describe it as boring, outdated, and claim there are now better alternatives, attempting to portray listening to it as old-fashioned while criticizing its listeners using the language of desire.

What the defenders of both views fail to realize is that they are two sides of the same coin, governed by a common force: predatory capital. Scientifically, this refers to capital that profits from the deterioration of citizens’ lives. Both discourses oppose the beauty of music and its enjoyment by all. Criticism of classical music often influences many individuals, leading them to perceive classical or beautiful music as chauvinistic, outdated, and intended for past eras and audiences. Consequently, numerous beautiful musical works are underpromoted in various sectors, aligning with the interests of predatory capital. Indeed, previous scientific research has outlined that musical taste nowadays is greatly influenced by some profit-seeking sectors.

In conclusion, two seemingly opposing discourses merely echo what predatory capital dictates. Such critiques of classical music or the claim that not everyone can appreciate it greatly benefit this capital. Meanwhile, those who do not subjugate ourselves to the rulings of the predatory capital will continue enjoying classical music, despite the mandates of some academics and the efforts of others to portray us as boring or traditional.

Adjunct Professor of Sociology at the Universidad de Barcelona
Clarinetist graduated from the Conservatory of Music of Aragón.

By Ane López de Aguileta

Adjunct Professor of Sociology at the Universidad de Barcelona Clarinetist graduated from the Conservatory of Music of Aragón.