Technology isn't what makes music modern. The points raised in the article go much, much deeper than that. This makes me think of the composer Conlon Nancarrow, who mostly composed for player piano. He was often credited as being a "father of electronic music", which baffled him. As far as he was concerned, he'd never composed a single note for an electronic music. But his music was the earliest attempt at seriously exploiting the ability of machines to play things humans could not play.

But synths and sequencers? They're not "modern". I find it hard to imagine music much more primitive than the boring wub-wub-wub of dubstep or the endless 4/4 oontz of Eurodance.

Serialization and 12-tone, for all their shortcomings, represented serious questioning of how notes should be organized at all. I think they failed because they dehumanized, and humanity is at the heart of music. A conscious disregard for consonance/dissonance isn't the same as choosing the balance of consonance/dissonance. They were interesting intellectual exercises, but as a musician, I think they deserved to die. They're the music of the past now.

Most of the real experimentalism in music I hear these days (and I have some bias here) is in the noise and free improvisation fields. I'm biased because I also play free improvisation. But undermining rhythm and harmony, and focusing on tonal evolution - that's interesting and daring. And that music is done with some seriously analog approach, not computers. Computers are generally very restrictive (although there are exceptions - the people doing million-note sequences are fascinating noise experimenters). One of the best modern music performances I've ever heard was an improvisation of one percussionist, who spent several minutes carefully wadding a piece of cellophane. It was complex, dynamic, exciting, and above all, musical - but it worked by tossing aside virtually every musical convention except "be interesting".