It was an essential dimension of Bernstein’s personality to be actively involved in public engagement with (usually) classical music, bringing it to the masses with an accessible approach. This chapter explores how he used writing and broadcasting to communicate his own passion for music, as well as his insights as a composer, conductor and musician. Talking about ‘what makes music tick’ was as much at the heart of his mission as composition and performance were, and whether talking about Beethoven and Bach on primetime television in Omnibus or publishing his public lectures as bestselling books, Bernstein’s efforts in music appreciation helped to solidify his image as perhaps America’s most recognizable and popular classical musician.

Amy Beach’s career paralleled the rise of women’s clubs across America; the widespread amateur and professional musical organizations were important to her success. Gendered musical communities not only hosted Beach as both pianist and composer but provided commissions and audiences to purchase and perform her music, such as the thirty pieces she created for the women’s choruses associated with clubs. Beach and her compositions figured heavily in women’s organizations’ nationalistic agendas and were highlighted in their educational materials. Beach was active in the National Federation of Music Clubs, the General Federation of Women’s Clubs, the National League of American Pen Women, and numerous other groups; her association with the NLAPW led to two White House appearances. These organizations provided her with supportive networks of like-minded women and deep friendships. In turn, Beach’s stature validated clubs’ efforts to promote America’s music and to make women central to its musical life.

This chapter explores Britten’s investment in composing for young people – the most obvious outworking of his well-known belief that the composer had a ‘duty to society’. It positions this part of his oeuvre within the context of a number of interconnected contemporary critical debates: about national education reform; about the supposed impact of sound reproduction technologies on the public’s listening habits; about the arts’ imagined capacity to nurture ‘responsible citizens’; and about the contested consequences of industrialisation for local culture and community. It then examines two different ways in which Britten responded to cultural critics’ concerns about the socially alienating conditions of modern life: whereas Noye’s Fludde sought to foster community through promoting amateur performance, The Young Person’s Guide to the Orchestra encouraged a different kind of cultural participation premised on ‘active’ listening. More broadly, these compositions reveal how arts education became a vehicle for debating, making sense of, and regulating the social changes that took place in mid-twentieth-century Britain.