i think you're almost making a valid point. i've picked up a few pieces that seem to sound roughly like this, but what you're doing is mistaking bad writers for a bad method. i would agree that the problem is compounded by the "academic establishment", who for some reason tend to pick out the worst of the bunch out of some kind of a desire for shock value. there's probably an underlying psychiatric condition that causes music teachers to hate the thing they cycle their life around. whether an expression of the ultraparadoxical or a reflection of self-loathing remains an open question in my mind, but it's gotta be something like that. it's some kind of rebellion, and that's something to cherish in principle if it doesn't always work out in practice. but, let's be blunt: this is a topic for two centuries ago. if you want to create interesting music in the 21st century, you can't be dragging the corpse of music theory around with you. holding on to music theory at this late a date is really something like holding on to creationism. or causality. pitches are mathematical objects. they exist in a continuum. any attempt to order that - be it through conventional music theory or tone rows - is just meaningless, oppressive structure.
the right way to look at it is that it's really just a question of tonal freedom. it's my composition, and i'll flat diminished if i want to, flat diminished if i want to....
the better side of it has a level of artistry that goes beyond the pretension. it just reduces to tension and release when you break it down to it's most basic. does it not seem foolhardy to restrict your emotional expression to a flawed mathematical relation? i think the best conventional composers have all understood this, and it's what really makes them stand out. standing on the other side of webern and cage just means coming to terms with it, without the hubris of pretending otherwise.
which is pretty pretentious, too.
but, i hear you - it's there, especially in the universities, and, sadly, they seem intent on upholding it.
