The question as to whether musical works have any meaning in themselves is a unique matter in the history of philosophy and has been such since ancient Greek times. It has this unique dimension because it presents an essential challenge of non-conceptual melodic units to philosophical conceptual language. In the history of philosophy, musical meaning has mostly been taken as something to be discovered or interpreted by conceptual language i.e. with reference to current cosmological or ontological constructions . Accordingly, musical meaning seems to be reduced to a prior set of knowledge. Thus, the following question arises: Is musical meaning something that can be reduced to a prior set of knowledge or to a conceptual language? How is it possible to translate any musical work into a conceptual language? This paper sets out that musical meaning reveals itself at the moment of actualizing a musical work and hence cannot be translated into another language