The particular and the general

In an article by Rose Rosengarden Subotnik, 1978 the author writes about the history of the separation of music from language: “Music […] separated itself from natural language in responce to a division, now felt with unprecedented sharpness in European society, within the Western conception of man in his relation to the world.” These two, music and language, followed what Subotnik describes as “roughly parallel courses in their pursuits of truth.” Music as being the “paradigmatic configuration of subjectively acquired knowledge” and language the “paradigmatic medium for the configuration of objectively acquired knowledge.”

The big question is to me: what are the methodological and pedagogical tools needed to describe the configuration of subjectively acquired knowledge in the field of musical practice in order for it to gain relevance within the medium of abjectively acquired knowledge?