The International Baccalaureate Diploma Programme (IBDP) Music Guide (2020), published by the International Baccalaureate (IB) Organization, provides aims and goals, structured components, and assessment objectives and criteria for IBDP Music teaching and learning. The updated music guide aspires to provide a “globally accessible” framework for the IBDP Music course. This course has no prerequisites, which is presented in the official guide to welcome students from a variety of musical backgrounds and to foster openness and curiosity in music learning. However, to what extent does the content of the official IBDP Music curriculum reflect its stated ideals of equity and openness?This paper situates the IBDP Music curriculum from the lenses of Pierre Bourdieu’s (2011) cultural capital theory and Tara Yosso’s (2005) community cultural wealth model. This project examines how the IBDP Music Guide (2020) both reflects and challenges existing cultural hierarchies in music education within the IBDP program. The following questions guide my inquiry: (1) How can the IBDP Music Guide be analyzed through Bourdieu’s concept of cultural capital?; (2) In what ways does the flexibility of the IBDP Music Guide aim to create space for students’ community cultural wealth?; (3) Despite the IBDP Music Guide’s flexibility, how might the practical realities of the IBDP Music course reveal a potential gap between the curriculum on-paper ideal of equity and the actual lived experience of students?; (4) How might Yosso’s Community Cultural Wealth model help us reframe these tensions in IBDP Music, and explore ways to reconcile them across different stakeholders’ perspectives (i.e., IBDP Music teachers, IBDP Music curriculum designers, students, and school administrators)? Using a preliminary document analysis of the official IBDP Music Guide (2020) and related IB publications, this paper explores the tension between the curriculum’s stated goals of openness, globally accessibility, and diversity and the hidden assumptions that underpin their assessment frameworks. Findings suggest that while the curriculum framework promotes engagement with diverse musical material, the assessment criteria may continue to privilege traditional forms of cultural capital. At the same time, the curriculum’s inherent flexibility and focus on contextual, inquiry-based learning present opportunities to recognize, legitimize, and expand students’ diverse community cultural wealth. It is not only about whether the curriculum allows it, but about whether such flexibility leads to real equity in practice. Even under these flexible rules, deep structural inequities can still persist. Keywords: International Baccalaureate Diploma Programme; cultural capital theory; community cultural wealth model