You may find this essay "Badiou and Music", written by a musician, helpful. The author emphasizes the revolutionary power of artistic creation, and indicates the autonomy of music from philosophical discourse (although philosophy may aid or inspire music):
Let us recall foremost that for music properly speaking, philosophy has no use and can have no use: music is an autonomous thinking [trans: the noun ‘thinking’ will henceforth translate Nicolas’ ‘pensée’], put to work in pieces of music; this musical thought, which is not linguistic, is deployed in a specific world, the world-Music formed logically around a singular dialectic between sound and notes, between sound material and literal terms (made of this specifically musical writing called solfege). No place here, of course, for philosophical discourse![b]
By contrast, philosophy can be of use to the musician, this dividual [trans: Nicolas’ ‘dividu’ is henceforth translated as ‘dividual’ – which is opposed to an ‘individual’ or, in French, ‘individu’] in constant split between the world-Music and those other worlds that are of the ordinary life of humans. It is for this reason that the musician can lean on a philosophy to find a cartography clarifying the orientation of thought available to him, a geology illuminating the conditions of possibility of a musicianly discourse, a meteorology delineating [dégageant] the general time of thought and thus what ‘Contemporary’ can mean in a particular time for the musician.
The musician is thus able to deploy his own intellectual nature in the shadow of a given philosophy, just as it can do in the light of such or such other procedure of non-musical thought; I will say in my case: in the light of mathematics[c] and the shadow of the philosophy of Badiou.
This philosophy, in fact, especially since Logics of Worlds (that is to say, since this philosophy has touched upon the shores of logic and phenomenology), can help the musician to deploy a materialist conception of his art which can be a counterweight to phenomenological idealism (the spontaneous philosophy of the musician in the post-war period) and, especially since the ‘70s, to this crass materialism of the human sciences which focuses on systematically liquidating the very idea of a possible artistic autonomy.
I would think of Nietzsche here: the way melody and rhythm condition and mutate all of creation or expression. The musicality of speech would be a primary example here to my mind, but the point would be that even philosophies sing, whether celebratory hymns or pious dirges...
So there is always beneath the explicit content a profound implicit sense -- I'm tempted to say spirit, but you could also say subtext. It's a question of who/what is speaking through you, the text, the world; singing through signs and phenomena. A question of different musics for different ways of feeling, thinking, living.