And,however much atonality and other formalisms represented an intellectual inevitability, they also are ultimately useful mostly for having mapped a good bit of the coastline defining where the experience and enjoyment of musicality is grounded in ways which are obviously embedded in both physics and our particular embodiment, and to lesser degree, culture.
Jazz did a much more nuanced mapping of that ground IMO, but to the same end result: beyond the coast there is deep water, and there we do not swim.
Nor shall we, the collective. Not so long as we live in these bodies.
Individuals can swim; individuals can endeavor or through some rare combination of circumstance find musical value and enjoyment in the water, i.e. beyond conventional melody harmony and rhythm...
...but no amount of intellectual scaffolding or historical cultural momentum can bridge it.
Humans cluster inland.
I've spend decades in the experimental sound/music community and mapped some largely unvisited coves myself, having a particular interest in what in those intellectual traditions was called musique concrete;
and been to countless "noise" shows, and lived through many generations now of enthusiastic "kids" rediscovering various aesthetics.
The lines don't budge. The cultural framing of what it means to transgress them, and the communities that form around celebration of that "transgression," are all unique in their specific concerns, and—unhappy in the same way.
Minimalism was a welcome success for pretty obvious reasons: it was a reversion and embrace of exactly those things at the heart of our embodied experience of music.