This paper draws on Pierre Bourdieu’s sociological framework—particularly his concepts of cultural capital, habitus, and field—to examine how institutional taste shapes curricular priorities and student identity formation in higher music education. Bourdieu’s Distinction (1979) critiques how aesthetic preferences are socially constructed and used to reinforce class distinctions. Within university music programs, classical music maintains symbolic dominance, marginalizing popular genres and the students who identify with them. The central aim of this research is to analyze how the creation of a rock ensemble within a predominantly classical music department can serve as a transformative pedagogical intervention—validating diverse musical backgrounds and expanding the scope of legitimate musical learning.This case study is based on the presenter’s experience as an academic program coordinator and ensemble director at a large state university. The inquiry is framed through critical pedagogy and sociological analysis, incorporating student feedback, curriculum design documents, and institutional responses to the ensemble’s development.The ensemble has become a vital resource for students who previously lacked access to popular music instruction. It has fostered musical growth, collaboration, and identity development, while also challenging the symbolic boundaries of the department’s curriculum. Students have gained new forms of cultural capital—such as genre fluency, improvisation, and songwriting—that are increasingly relevant in contemporary music careers. The ensemble has also served as a bridge between institutional structures and student realities, fostering inclusivity and relevance in music education.This initiative demonstrates how popular music curriculum can democratize music education by aligning institutional offerings with the lived musical experiences of students. It calls for a reimagining of music curricula that embraces genre diversity, supports inclusive pedagogies, and recognizes popular music as a legitimate and transformative force in academic settings. The paper offers practical strategies for educators seeking to implement similar programs and contributes to broader conversations about equity, relevance, and innovation in music education.