this gap -- between the precision of the technical language within a given music (whether it's staff notation, or the jargons of jazz or serialism, or any number of instrument-specific instructions -- "con legno", vamp till ready) and the larger discussion of meaning, intent, significance, and etc -- is what i was getting at, long ago, when i talked about an "incommensuralibity" between the world of the musician-composer, and the non-playing listener

in retrospect, "incommensuralibity" -- given that it's a technical term from kuhn's histories of science -- is a bit of a red herring, however (even though kuhn was the context i brought it up in)