While taking into account the millenia-old intuitions about the relationship between music and philosophy, the present text aims at rethinking music as an uncompromising and resolute point of departure for a philosophy of human existence. The underlying position of this philosophy is one that eludes the tyrannical ubiquity of language and is not subject to linguistic speculations or manipulations. Its explicit orienting point is the decisive role of the immediate musical experience in its self-evident (for the musician) validity. The possibility to think about music freely and legitimately is sought in the primordial musical-philosophical advantage of the music-maker - taken in himself, and at the same time doubtlessly inseparable from the musical act. In view of its stated aims, the text addresses mainly questions about the boundaries of the musical, about every legitimate "residence" within its sphere and about every "illegitimate" approach to music - such as talking about music from the vantage point of a research field, a specific discipline or method. Musical philosophy strives to highlight music before any theoretical constructs have been superimposed on it (e.g. musicological, philosophical-historical, psychological, culturological, etc.). That is why musical philosophy always takes into consideration its own underlying foundations and incessantly tests whether they remain musical in a non-musical millieu. It views music primarily as a mode of "residing" which cannot be described and approached by means of contingent premises, and which unequivocally imposes its own ways of self-evident sensing; this mode presupposes an unique and in-the-music-act personal position - participation, which, however, does not vanish in other modes of existence, but sets a horizon pointing to the arche principles of human contact (encounter) with the world.