However, not having obtained a clear and definite answer from either musicians, scientists, or philosophers, via either words, measurements, or demonstrations, at a certain age I realized that really, and unfortunately, it appeared necessary to go find such an answer myself.
The first idea was then to not formulate this answer in writing. Given the indirectness of words, that would be an ultimately futile endeavour. Instead, the answer was to be formulated directly, via perceptual stimuli and induced subjective experiences.
These stimuli were then to be carefully designed, so as to induce aspects of music and non-music that are experientially similar, while also inducing transitions inbetween these aspects. This should make it possible to experience the differences that define music.
Also, over time, the stimuli should repeat, exactly. This would enable the listener to consciously compare and reflect on what is non-incidental in the differences being experienced.
The end result of this approach has been an Extreme focus on the limits of music.