For sure you are right...😊
Here is my take on what is "Musical" in audio gear
Non musical= words like "soundstage, upper bass, smooth highs, detail etc etc
Musical =. grooving to the beat, nodding ones head, dancing, singing along etc
musicians have no idea what audiophiles talk about
---The discourse in audio marketing is completely focussed on the gear attributes and the perception of these gear pieces attributes ... ( as if acoustics conditions could be only a secondary matter in the evaluation)
All reviewers and their readers speak the same basic lingo.... ( bass, high, mids. imaging, soundstage etc )
--- The language of acoustics and psychoacoustics is completely different, it is made of physical or physiological and neurological concepts and of mathematics...
When have you read in a review of gear system or about a pieces of audio that the "listener envelopment" factor (LV ) relative to the sound source dimensions (ASW) imply a tyrransition time near 100 ms , then that this speakers in this room geometry could be better than the one this seller want to sell to you ?
This is absolute acoustic fact with NO RELATION TO TASTE ...
--- There is also the language of music completely different from the language of audio marketing and from the language of acoustics...
Musical rythm, beat, meter, measure, tempo , time signature, had nothing to do with the time in psychoacoustics Hall or room nor with the gear dac timing scale /frequencies ratio ...
With these three languages and three set of concepts we must learn how to hear and what to hear....
The less important of this three language is the lingo associated with the gear pieces as "tasteful" or not by the reviewers or consumers...But if a clever designer use psychoacoustics facts based on the statistical measures of enough human subjects to be a rule , as for the way to incorporate or decrease some distortions orders, or how to use the time dependant working dimension of the human brain/ears in his design , this is science applied not mere "taste" applied...
Music create his own time dimensional experience, it is not the time of physics...it is a time dimensions qualities rooted in the human moving body as the creator of sound and speech and music, dancing, playing, singing ....
We can choose to stay silent as you wisely recommend as a musician drummer and avoid audiophiles lingo or any set of words... You are right...
But when we face the problems which are related to the installation of a playback system in a room , we need to know and understand what needed to be done to optimize the system /room... We need acoustics concepts and possible experiments with an (S) ... We dont need our "taste" so much and we dont need the marketing lingo ... Psychoacousticians had already studied humans and their specific needs in sound and music perception .... We dont know all but we know enough to understand how to optimize any playback system at any price ...
In a "musical" experience about the gear/room : Taste there is for sure, but it is not mainly about taste...
We know when a system/room is right and musical....We cannot explain it in words save using poetry... We feel it in our body... But this silent knowing experience dont nullify acoustics , in the opposite it confirm it in his concepts and experience ...
Any musician check the Hall acoustic or the room where he will play and can be able to describe all his characteristics for the worst or for the better ... Any musician check also the acoustic state of his instrument for the same reason ...
A drum is way more complex acoustic object than what meet the eyes... It is the same for a gear system in a room ...