Yes; sad to say, America hasn't been making its fair share of contribution to music the past 40 years or so (particularly true this decade), mostly shoving out trash like Torke, Danielpour, Liebermann, Glass, Corigliano etc. (Not to say any of those composers have no, good pieces, of course). America has definitely been the comparatively "accessible" country for a while now.
Well, I do agree with this point to an extent, I wouldn't call some of these people trash. Torke and Glass are almost complete sell-outs though (on most occasions, at least), and I would lean closer to calling their music just plain bad on some occasions. However, the others still show a lot of compositional chops, even if they take a more populist route in composing, which there is nothing wrong with if done correctly (I would argue that Danielpour, Liebermann, and Corigliano, among others, do it correctly). There is no rule that every composer has to do something innovative in his compositional life.
Goffredo Petrassi is probably the most important figure in early electronic composition (with Francois Bayle and Luc Ferrari coming in 2nd/3rd).
Yeah, let's just forget about Edgard Varèse, Léon Theremin, and Pierre Henry, right? None of these guys happen to be Italian, if you notice. Petrassi et al were nowhere near as significant as the French innovators.