Believe it or not, not all of those people were middle class. The UK and the US both had programs which made classical music accessible to the working classes, and they had a significant cultural impact.
In the UK the post-war BBC carried on with (what is called) the Reithian tradition (after Lord Reith) until marketisation started to overwhelm everything in the 80s.
This isn't to say that classical music is somehow always utterly superior to pop. It was about giving people experiences they wouldn't have had otherwise, and to give them more choices about what to listen to and maybe enjoy.
The UK also had an art school track for bright creative working class kids, some of whom went on to make a living in music and/or fashion. Marketisation also destroyed that, because of course student debt destroys your choices and limits your options so you literally can't afford to take risks.
>This isn't to say that classical music is somehow always utterly superior to pop.
Today it's almost forbidden culturally to even suggest that it coule even be (superior).
The thing is, to say such a thing, you need some kind of shared cultural basis (of what's superior and what's not), one that even those who don't "like X" (the way we might like peanut butter or not), nonetheless agree on (and whether they care or not, feel like it's somewhat their loss for not liking it).
Those times, had that (shared cultural agreement).
In more modern times, after the 60s especially, and in the US doubly so, culture is whatever one makes it, the mass consumer is king (because everybody wants his/hers money, so they treat them as such), and personal taste is the be all end all, end of discussion.
Whereas in another era, to say Bieber or Drake are inferior to Bach, for example, would be so self-evident and accepted by all (for the Bieber's and Drake's of their era), as to not even be worth saying.
> Whereas in another era, to say Bieber or Drake are inferior to Bach
This is a strange comparison though. It's like saying strawberries are inferior to lobster. Sure, they're both eaten as food, but they serve very different purposes, and comparing them doesn't really make sense.
BBN, Bolt, Beranek Newman the original ARPANET contractors started out in computational acoustics, tasked to build for the American people concert halls to rival those of Europe, witnessed and lamented simultaneously for the first time in the destruction of war. Chicago Philharmonic and many other orchestras gained concert halls absolutely unrivalled for the next fifty years and equalled only occasionally today. My late cofounder was much better known for managing a important 20th century British classical composer whose preference for the aforementioned hall (and incumbent conductor) was almost as much of a thorn in the side of European musical nobility as receiving his Order of Merit* from HM the Queen in his Nike sneakers. Deutsche Grammafon and the listening public concurred voting with their wallets, driving classical music sales of records beyond all expectations, thanks to the work of BBN and the American people who gave such incredible support for post war music when Europe was stumbling from the beginning of one recovery to the next.
the rest of original comment in my profile simply too long
In the UK the post-war BBC carried on with (what is called) the Reithian tradition (after Lord Reith) until marketisation started to overwhelm everything in the 80s.
This isn't to say that classical music is somehow always utterly superior to pop. It was about giving people experiences they wouldn't have had otherwise, and to give them more choices about what to listen to and maybe enjoy.
The UK also had an art school track for bright creative working class kids, some of whom went on to make a living in music and/or fashion. Marketisation also destroyed that, because of course student debt destroys your choices and limits your options so you literally can't afford to take risks.