After a thorough explanation of the concept of musical gentrification, this chapter expands on the concept by demonstrating that while appearing as a democratising process, it can also be a useful strategy for social and cultural positioning in the late modern cultural world. In this way, musical gentrification may work as a means of harvesting hitherto untouched cultural capital. At an institutional level, it can also serve as confirmation and justification of egalitarian, tolerant and inclusive commitments and mindsets, whereas, on the overarching social and cultural level, it confirms rather than changes the order of things. Thus, the concept of musical gentrification may provide insight into the workings of hegemony in and through contemporary popular culture. This chapter rests on the premise that there exists a symbolic economy next to the material one. Within the symbolic, or cultural, economy, Bourdieu asserted, based upon his comprehensive empirical research on the state of French culture and society in the 1960s, that music represents one of the most important negotiations of the social world. Accordingly, since popular culture now seems to be attractive for most social groups and classes worldwide, it makes sense to start with a musical sociological contribution that is particularly concerned with the global prevalence popular music has gained in today's society. The notions of institutionalised patterns of cultural value and expressive isomorphism together provide a conceptual framework for a general sociological understanding of aesthetic cosmopolitanism, which may be seen in accordance with Bourdieu's dual understanding of the social role of culture.