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Many modern composers seek to shock the audience into feeling something simply by throwing out strange sounds and effects.
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Who, Zyla, who? Name some names. Who does this?
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Throwing random sounds at the listener without this framework based on thousands of years of expectation and convention may be intellectually interesting, but I don't see how it can generate real emotion.
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Hmmm. Aside from the grotesque unfairness of "throwing random sounds" as characteristic of twentieth century music, I must ask: You wouldn't be calling my emotions false, now, would you? Why, you don't even know me.
Not that you'll take my word for it, but plenty of twentieth century music generates plenty of real emotion. Kutavicius'
Lokys the Bear for one. Lachenmann's
Gran Torso. Bokanowski's
L'Etoile d'Absinthe. Cage's
Cartridge Music. Conrad's
Four Violins, Lucier's
I am sitting in a room, which was a defining piece of music for a whole generation of listeners.
And so much more. Fair's fair!