The cultural exchange of music is mostly unrestricted in a capitalist economy, so the aspects of bourgeois culture will be seen most prevalent in popular music.
Most music, as with most forms of art and entertainment, is often originally created by oppressed classes, from which it is then acquired by enterprising capitalists as a means of exploitation through the demand of capital gain.
Distinct musical styles developed or acquired by the bourgeoisie can be characterized by provincialism, much in the same way that bourgeois film lacks certain perspectives.
Bourgeois music is of course characterized by the commodification of demographics, with the dual purpose of defining an exploitable area of the population, as well as the maximization of supply through projected demand.
Regardless of the origin of bourgeois popular music, it is all turned by the enterprising capitalist into commodities that are aimed at exploiting the lower classes through the uneven distribution of capital gain.
Law and Politics
Copyright laws in music are understandably exploitive, yet culturally accepted in areas where the petty-bourgeoisie seek signs that they may be capable of building their own capital gains through the exploitation of others.
False counterculture in music is even created by the bourgeoisie to appeal to the petty-bourgeoisie, since intuition indicates that it poses little risk of igniting populations that are reformist in nature.