Abstract

Abstract:Bourdieu developed his theory of cultural capital, in part, to help explain why school achievement for students from lower income families is persistently below that of their wealthier peers. His theory has been applied and extended throughout the world, especially in capitalist countries where economic disparities prevail. Although it risks reifying common-sense assumptions that privilege the cultural values and practices of the affluent, the theory of cultural capital applied to music education provides a means to critique efforts in school music intended to elevate or broaden the musical tastes of the poor and working classes. Rather than freeing students from “cycles of poverty,” music education efforts aimed at cultural refinement can have the opposite effect of leveraging distinctions between classes to further the reproduction of inequality. The argument is made in this essay that a robust framing of Bourdieu’s concept of habitus can serve as a corrective by highlighting the arbitrariness of cultural capital and supporting a more relativist view of culture.