Mfcttrf

I was wondering if counterpoint is still used today or was it something that was just used by Bach? Do modern composers not use it anymore?

Counterpoint is simply the relationship between multiple musical lines. As such, any excerpt of music with more than one line is displaying some sense of counterpoint, whether intentional or not.

Note also that there are multiple eras and traditions of counterpoint, each with their own distinct styles (what many erroneously call "rules"). Palestrina is typically considered the master of Renaissance counterpoint, with Bach being the master of Baroque counterpoint. Mozart and Beethoven were among the many masters of counterpoint in the Classical era, and getting into the Romantic era you have composers like Brahms and Bruckner. And in the twentieth century you have composers like Shostakovich and Hindemith, both of whom wrote sets of piano fugues much like Bach did.

If you're asking whether or not something like fugues are still written today, of course they are! In fact, the fugue at the end of Young Person's Guide to the Orchestra (1945) is still to this day one of the most impressive feats of counterpoint I know:

It is still used, but not the way Bach used it. Bach used to compose the different voices to be harmonically interdependent but rhythmically independent. After a certain point (later 19th-early 20th century) the composers took counterpoint in a different direction. They started composing for voices that were purely independent with each other; both harmonically and rhythmically.

A great example is Arnold Schoenberg and his use of 12-tone serialism.

Here is a more modern piece that uses contrapuntal techniques:

Also, here is an example from Radiohead's In a glass house:

Notice how the horns move independently from the voice and the rhythm section and how the clarinet moves in a different rhythm that the brass.

One practical use in pop, country, big band, (and probably jazz, maybe rock) is the counterpoint between melody and bass. One would like the melody and bass to be independent voices. Many bass players use chord inversions (playing the third usually) and walking basses to achieve this (and they do it on the fly.) If one isn't careful about parallels, the texture can suddenly seem "thin" like an instrument dropped out.

I like to think of songs as being a melody line (maybe several instruments), a bass line (using good two-part counterpoint), and a bunch of inner stuff that need not be so careful (because of doublings and texture, one doesn't usually hear multiple lines in these styles). Renaissance counterpoint sounds more like several independent voices but Baroque counterpoint (not counting fugues, canons, and inventions) can be a bass line supporting upper voices with some filler for chords.