There is a dialectic at work. Music is permeated through and through with intentionality. This does not just date from the 'stile rappresentativo', which deployed the rationalization of music in an effort to exploit its similarity to language. Music bereft of all intentionality, the merely phenomenal linking of sounds, would be an acoustic parallel to the kaleidoscope. On the other hand, as absolute intentionality it would cease to be music and would effect a false transformation into language.
Intentions are central to music, but only intermittently.
Music points to true language in the sense that content is apparent in it, but it does so at the cost of unambiguous meaning, which has migrated to the languages of intentionality. But its intentions also remain hidden. It is not for nothing that Kafka, like no writer before him, should have assigned a place of honour to music in a number of memorable texts. He treated the meanings of spoken, intentional language as if they were those of music, parables broken off in mid-phrase. This contrasts sharply with the 'musical' language of Swinburne or Rilke, with their imitation of musical effects and their remoteness from true musicality.