In collected fragments, by using speculation author attempts to safeguard a paradoxal right of music to its own secrecy/mystery, against every scientific, conceptual, and musicological reductionism and forgery of the way of being of music, convinced that the music disappeared within the musicological findings “about” music. The key of the tehne hermeneutike can be understood through this thought: in the inaudiable being of silence the audiable being of music can be heard; and vice versa. Silence is the inaudiable element of music and every relevant music has its own “silence”, and vice versa. Thus, thinking in respect to music, and then about the music, means to “un-veil” the “veiled” of music as music, from this or that side of this or that, of this or that style, of this or that performance, in other words, continuously urging to discover what cannot be said about in music. In this sense, for the author, the truth of music (in the complete sense), speaking with Schelling, is musicologically unattainable because by its very nature in actu – is de potentia.