I would love to read and comment on such a post. I would take issue with the widespread use of terms like "good," "high-quality," "real," and "art" to differentiate the Western canon of choral/orchestral music from everything else that's out there. I'm sure there are many jazz composers and theorists who wouldn't give Berg or Webern the time of day. And buskers play all kinds of music - it doesn't have to be Bach or Beethoven to be meaningful.

In terms of the Second Viennese School, what I should have said in my previous comment is that there's a popular misconception that Schoenberg was the one who tipped the linear progression past the point of contemporary accessibility. i.e. that while Bach's contemporaries, for example, may not have known his music, they were not freaked out by it. But this seems to be a pretty common thing in musical history - new composer comes along, people say "what the hell is that guy doing? ack, the impropriety!" and decades or centuries later, everybody gets it. Popularity is a fine metric for judging the verdict of history; you just have to wait until it's actually history.