Beethoven’s Fifth Symphony starts with an anguished opening theme — dun dun dun DUNNNN — and ends with a glorious, major-key melody. Since its 1808 premiere, audiences have interpreted that progression from struggle to victory as a metaphor for Beethoven’s personal resilience in the face of his oncoming deafness.

Or rather, that’s long been the popular read among wealthy white men who embraced Beethoven and turned his symphony into a symbol of their superiority and importance. For others — women, LGBTQ+ people, people of color — Beethoven’s symphony is predominantly a reminder of classical music’s history of exclusion and elitism. One New York City classical music fan wrote in the 1840s, for example, that he wished that “all women shall be gagged by officers duly licensed for the purpose before they’re allowed to enter a concert room.”

Today, some aspects of classical culture are still about policing who’s in and who’s out, and it all started with Beethoven’s Fifth. When you walk into a standard concert hall, there’s an established set of conventions and etiquette (“don’t cough!”; “don’t cheer!”; “dress appropriately!”) that’s more about demonstrating belonging than appreciating the music.