Subject, language and art, have been, among others, three fundamental areas of disciplinary study to understand the cultural evolution as construction of meanings and symbolic representations for realities, contexts and specific times. Undoubtedly, it has also meant a way of understanding the steps and meaning of man in the course of these long years of reflexivity. It has been language in its various forms, a creation conceived by man to display his thought, his feelings, his pleasure, his action, his affection, his affliction, his gods and his wars. However, these three places have also wandered through uncertainties and opacities, strangeness and enigmas, each time that the epistemic matrices have closed the very coming of their own truth. This paper transits from a modern rupture, or if you like, from an epistemic opening in the sense that Hegel thinks about music and its meaning, linking notions of deconstruction (touch, writing, sense, etc.) with experience of music in terms of the possibilities that sound and its limits, allow access to sensitive territories of understanding of musical art in its meaning beyond sense. For this reason, questions such as is it possible to think music outside of what we conceive as a musical experience? Will it be possible to understand the meaning of music outside of some significant meaning? The meaning of music outside any significant scope, would come to be constituted as the attempt to mean at the limit of any meaning and therefore, a condition of openness for new possibilities of understanding and reflection.