This research attempts to examine Hossein Nassehi's flute concerto with a sociological approach, relying on Pierre Bourdieu's field theory, and analyze the lack of attention paid to this historical work. Despite Nassehi's fundamental position in the history of modern Iranian music, the flute concerto has not been given the attention and importance it deserves in the critical, educational, and performance arenas for decades. This lack of attention can be analyzed in the form of a kind of "symbolic violence" in the field of Iranian music; from Bourdieu's perspective, "symbolic violence" in the field of works of art is a form of cultural domination that, without direct coercion, and through the tastes of the dominant class in society and the fields of artistic power, causes the work to be removed. This research shows how the structures of the Iranian classical music field, including educational institutions, taste judgments, dominant musical discourses, and the network of professional relationships, gradually caused the flute concerto to be removed from the cycle of analysis and performance. While this work has historical significance from an aesthetic and compositional perspective, the research has been conducted using a historical method.