Certainly. A classic example of a "postmodern" composer is John Adams, whose magnum opus could be considered the piece "El Nino", which modern critics have compared to Handel's "Messiah". I encourage you to listen to the "El Nino" front-to-back. During Handel's "Messiah", many audiences developed a tradition of standing during the Hallelujah chorus and singing along in four-part harmony; the piece, even at the time recognized as a triumphant achievement of one of the best living composers, could be easily participated in by the everyman, as long as they could carry a tune.

Is the El Nino as approachable? Does it marry the general non-studied audience with the music of the most-trained (in that case Handel, in this case John Adams)? Even looking at some of the farther out-there modernist composers, who came before the postmodernists (Charles Ives, Schoenberg, Cage, Shostakovich), you can see that they're writing bizarre, anti-melodic rejections of music that audiences have traditionally liked (read: music that audiences can hum after they're done listening). Charles Ives's father taught him to sing in one key and play in another, and said that children in the future would be whistling tunes in semi-tones.

And who have they inspired? People like Steve Reich and Phillip Glass. Listen to Four Organs and let me know if you think that we should reject the melodies of the past as the antiquated drivel of delusional Euro-supremacist royalists in favor of what the modernists, postmodernists, and the "post-post-modernists" have to offer us. If you think I'm exaggerating, you don't know enough academic musicians. (I do, however, freely admit that there are plenty left who appreciate both the old and the new; not every modern musician claims that we should cease playing Beethoven altogether. I myself like bits and pieces of each of the composers I've just named; the attitude I am criticizing is not that their music should exist at all, but more the attitude of the people I know who claim that their music should replace the earlier composers.)

I have many friends who have professionally studied music, and the more obtuse and obsessed with "new sounds" they get, the more insufferable and critical of historically popular music they become. It's as if they're deliberately driving a wedge between the musically non-educated and the musically educated. This wouldn't be too much of an issue if it hadn't started to spread into other fields that the public has no control over, like architecture, on which I could write another comment of equal length, although with somewhat less authority because I only personally know a few architects, whereas I've been studying music as an amateur and interacting with professional musicians for 20 years.

What I find most ironic is that these stalwart critics of western tradition, architecture, philosophy, and music, are the first to embrace the traditions of other cultures. Some of my acquaintances will spend an entire visit to Chicago complaining about the reductive and inequitable American architectural tradition, or criticize the cathedrals and castles of Europe, and then turn on a time and talk about how beautiful the palaces, mosques, and temples of the Middle and Far East are. It's maddening.