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1.) Music which to some extent acknowledges precedent. More specifically, I think the sense of a musical 'line' is very important. Ideas and development: something must 'stick' (though not necessarily at the immediate beginning of a composition). I really do enjoy music where ideas are developed in such a remote way that the realization of relationships are an exciting moment for the listener. Another thing is that something needs to happen. Consequence. This actually doesn't occur in some of the music I enjoy, but those pieces engage me in an entirely different way. Either way, I'd expect this to be necessary for 'accessibility'. 2.) Naturally, those pieces which avoid what I just described. I also think that the music which fulfills the 'Atonal horror music' stereotype fits the bill as well.

To me, most important is the usage of "good old fashioned" elements of music: rhythm, melody, harmony or at least some sort of vertical organization. I generally like anything within contemporary idiom (atonality, aleatorics, clusters, sound layers) if music is active, energetic and has enough contrasts. My favourite composers of contemporary music are Olivier Messiaen, Henri Dutilleux, Marc-Andre Dalbavie, Erkki Sven Tüür, Magnus Lindberg, some works of Einojuhani Rautavaara. I don't like composers such as John Cage, Morton Feldman, Earl Brown, Karlheinz Stockhausen because most of their compositions are static and boring.