So many interesting responses!
Errikos I am sure you have lots to say and look forward to it.
Ive been busy myself. But just a quick note that my question was more related to where is classical music (or 'serious' music' or art music) going. But some interesting posts about the general direction of mussic itself. I guess the two are ultimately related.
My question is addressed not just to a listener of classical music but specifically towards composers who are musically trained enough to be able to understand part writing, counterpoint and orchestration, (which I assume is true for members of this forum) and who love/were brrought up in the traditional classical music of the Haydn/Mozart/Beethoven variety, or even the later developments in romantic all the way to neo classical music of Shostakovich or Stravinsky, In all this music there is a clear structure and form and methodology that was built like a pyramid with foundations that can still be traced to Bach (counterpoint) and Haydn (Symphony).
How does someone with such a background learn to perceive 20th century music such as by Charles Ives or Salonen or Messiaen, which seem to lack the same elements, but yet are performed by orchestras around the world alongside Beethoven Mozart and Mahler? This modern music is all seemed to be based on texture with less emphasis on melody. But yet it is powerful and intriguing, and these composers are no less than the great composers of the classical and romantic era in their technical sophistication.I wouldnt quite call their music decadent btw.
I guess if I had formally attended conservatory I would have found the answer. But since I am self taught I am just fishing around for thoughts from others who did attend.
In other words, my question is really a naive one;)
My question was a bit confusing as I also mentioned the poor views for the Salonen YT clip,....my concern here was, how are composers that write 'serious' music to appeal to more listeners? One answer which I think William gave was film scoring, which offers a chance to still do very high quality classical music and reach 'common' people, as shown by so many great film composers.
I need to respond to the other posts (particularly the fantastic comment by mh regarding rhythm) so far later since I am busy with my work, but please do post you further thoughts.
Anand