Classical music has often been socially constructed as an elite cultural practice, strongly associated with higher social classes, educational attainment, and symbolic distinction. Sociological theories such as Pierre Bourdieu’s concept of distinction have contributed to the idea that musical taste is determined by social class and transmitted through family and educational background (Bourdieu, 1987). This representation has been shown to discourage individuals from socially vulnerable or working-class contexts from engaging with classical music, limiting their access to a significant part of humanity’s cultural heritage (Sarasúa et al., 2016; Vandenberg et al., 2020). While previous research has documented these inequalities, there remains a gap in the literature regarding which concrete actions effectively overcome them (Wang, 2017).

This study explores the potential of Dialogic Music Gatherings (DMG) to democratize access to classical music and challenge class-based barriers to musical taste. DMGs are a Successful Educational Action grounded in dialogic learning, where participants from diverse backgrounds gather to listen to and engage in egalitarian dialogue about universally valued classical music compositions. In these gatherings, musical knowledge is not a prerequisite; instead, all contributions are valued based on personal interpretation, emotional response, and argumentation (Chaib, 2006; Vivancos, 2003).

The research was conducted in two contrasting adult education contexts: one located in a professional music conservatory with participants holding higher education degrees, and another in an adult school situated in a working-class neighborhood where participants had no university education. Using Communicative Methodology, nine semi-structured interviews were conducted to explore participants’ perceptions of classical music before and after attending DMGs, as well as the broader personal and social impacts of their participation.

Results indicate that, prior to attending DMGs, some participants (particularly those from vulnerable contexts) perceived classical music as elitist, inaccessible, or “not for them,” often due to lack of exposure, social barriers, or internalized stigma related to educational background. However, participants from both contexts reported significant changes after engaging in DMGs. These included an increased appreciation for classical music, the discovery of new musical dimensions, and a greater sense of confidence in expressing personal interpretations regardless of formal knowledge.

Beyond musical taste, participants reported additional benefits such as empowerment, emotional well-being, friendship, and a sense of belonging. DMGs fostered spaces of egalitarian dialogue that counteracted expert-driven or hierarchical interactions, allowing participants to construct meaning collectively. Musical learning occurred indirectly, as participants autonomously sought information about composers and works, while emotional engagement and shared reflection remained central.

Overall, the findings suggest that Dialogic Music Gatherings effectively challenged reproductionist theories of cultural consumption by demonstrating that engagement with classical music is not determined by social class, but by meaningful social interaction and dialogic processes in the studied contexts (Savage & Gayo, 2011; Haynes & Nowak, 2021). DMGs emerged as a powerful tool for reducing cultural inequalities and promoting inclusive access to classical music as part of humanity’s shared cultural patrimony.

This study follows the Communicative Methodology (CM), a research approach characterized by egalitarian dialogue between researchers and participants and a focus on actions that have demonstrated effectiveness in overcoming social inequalities (Gómez et al., 2012). CM emphasizes the co-construction of knowledge by integrating scientific evidence with participants’ lived experiences, contributing to social and political impact. The research focused on Dialogic Music Gatherings implemented in two adult education contexts with contrasting socioeconomic characteristics. The first setting (DMG A) took place in a professional music conservatory, where participants—parents, caregivers, and grandparents attending while children received music lessons—had higher education levels. The second setting (DMG B) was located in an adult education school in a working-class neighborhood, where participants had no higher education and reported limited prior access to classical music. Nine semi-structured interviews were conducted with participants from both settings (seven from DMG A and two from DMG B). Interviews followed a communicative approach, in which the researcher contributed scientific knowledge while participants shared reflections grounded in their lifeworlds. This dialogic interaction aimed to break traditional hierarchies between researcher and researched (Gómez et al., 2006). Interview questions explored participants’ perceptions of classical music prior to attending DMGs, changes experienced after participation, and perceived benefits beyond musical appreciation. Interviews were audio-recorded, fully transcribed, and analyzed using a thematic and temporal systematization. Analysis considered participants’ initial perceptions, transformative experiences, and outcomes associated with DMG participation. Ethical approval was obtained from the Research Ethics Committee of Aragon (CEICA). Participants received detailed information about the study’s aims, data handling, anonymity, and their right to withdraw at any time. Written informed consent was obtained prior to data collection.

The findings of this study challenged deterministic theories that link musical taste exclusively to social class or educational background (Bourdieu, 1987). Across two highly contrasting contexts, participation in Dialogic Music Gatherings led to increased appreciation of classical music, discovery of new musical dimensions, and more positive valuations of this genre among all participants. For individuals from vulnerable backgrounds, DMGs played a key role in dismantling internalized barriers and elitist representations of classical music. Participants who previously perceived this music as inaccessible or “not for them” developed confidence, empowerment, and a strong belief that classical music belongs to everyone. Importantly, these changes occurred without requiring formal musical training, reaffirming the centrality of egalitarian dialogue and shared meaning-making. Musical learning emerged as an indirect yet significant outcome, as participants autonomously sought information about composers and works. However, knowledge accumulation did not function as a mechanism of exclusion; rather, all voices were equally valued regardless of expertise. This dialogic environment fostered enjoyment, emotional engagement, and sustained participation. Beyond music, DMGs contributed to improved well-being, social bonding, friendship, and a sense of belonging, particularly relevant for older adults and individuals from disadvantaged contexts (León-Jiménez, 2020; Idczak-Paceś et al., 2021). These findings align with previous evidence on Successful Educational Actions and extend it to the field of classical music engagement. Despite limitations related to sample size and data collection methods, the study provides robust qualitative evidence that Dialogic Music Gatherings were an effective, transferable practice for democratizing access to classical music and overcoming cultural inequalities in the studied contrasting contexts. DMGs reaffirmed classical music as a shared human heritage, accessible to all who wish to engage with it.

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