Vaughan Williams lived through times of rapid social change, unprecedented violence – two world wars – and political determination in the aftermath of those wars to build a better world for their survivors. His hopes for the democratization of ‘high culture’, and especially for wider popular participation in music-making, were shared by other influential figures in Britain’s overlapping cultural and educational establishments, though not by everyone: there was an elite backlash, with ‘standards’ maintenance the declared point of contention. (Simple snobbery probably did have something to do with it.)

This chapter explores Vaughan Williams’s work for the cause of cultural democracy, places it in social and political context, and names his most determined opponents. It focusses particularly on his roles as a member of Britain’s Council for the Encouragement of Music and the Arts, set up soon after the start of the Second World War to help maintain civilian morale, and as a founding member of CEMA’s peacetime successor body the Arts Council of Great Britain.