OK, I have to indulge in a history lesson here.
Two hundred years ago, apart from the village fiddler at the peasant dance, musicians worked for patrons, not audiences. You composed what pleased the patron. Being in a position to patronize musicians was a status marker, it made you a member of the elite. This was true of other artists as well. Ordinary people got access to music and art mostly when the church was the patron.
About 150-120 years ago, industrialization and urbanization tipped the balance. There were now large enough populations of wage-earning workers to support a new model: popular entertainment. Factory workers living in cities could set a bit of their weekly pay aside and go to the music hall or theater on the weekend, and musicians (and other artists) could make a living by pleasing the audience rather than depending on the whims of patrons. Over the next few decades, inventions like the phonograph, radio, movies, and TV expanded this popular culture and created mass culture.
However, this creates a problem for elites. You can't show the status marker of being a super-rich aristocrat by buying a ticket to the music hall, any factory worker can do that. So what do you do? Two things: first, you play the philanthropist and BUILD the concert hall or art museum or what have you for the good of the community (hence Carnegie Hall, etc.): and second, you continue to play the patron, but with a difference; the art that you patronize has to be different, more creative, more unique, more avant-garde, than the art that is consumed by the masses.
And thus "high art" or "fine art" was created, and divorced from the mere "entertainment" that is enjoyed by the majority of the culture.
To be sure, I think there is such a thing as mass-produced pop crap that is sheer drivel. But I don't think that just being popular makes something crap. And there is a lot of good, creative music playing to small audiences; but there is also a lot of pretentious drivel masking itself as the "avant garde."