What is meant exactly by the description 'more musical'?

That modeling start even before we comes out to the sun ligth. SPL is something that just " happens " and that we learn rigth from the start in inconcious way and then we follow growing up and follow learning about even if no one tell us what means that SPL our ears goes the " modeling " proccess and been aware of different SPLs with out knowing this technically, same with frequency range. All those is only learning, our ears determine the different SPLs we can tolerate even with no explanation: is part of the orgabism capacities. We don't need to know about the term SPL to know which is the levels we can tolerate in different " scenarios ".

@rauliruegas If I make this out correctly, you're not saying anything different from what I was.

@atmasphere   : Each one taste ( you can name it: flavor, color, " I like " or whatever. ) is as I already pointed out a result of each one of us life experiences inside what we were or are ssurrounded in each one of us different life stages. We don't live in a lonely island but the other way around we life full of other human beings during our life and we go to the kindergarden, school, high school, university, we know internet and have cel phone from we were child, we watch TV or Netfilx, we travel, go to the zoo, we swim in a pool but time to time we go to the sea, we know Dentist, a motocycle, F1 cars, mountains, trees, etc, etc, we attenedded to libraries, and talk with " thousand " of people during our life,  .

Maybe we never attended to a concert but even that we know what we like we know the kind of sounds that puts us in alert or that we don't like and the Amygdala is our guide.

Everuthing including hearing rules ( as you said. ) developed and continue developing our whole behavior.

Flavor, TASTE, I like it, is part of that whole human being behavior..

I already told that everything concious or not is part of our lifwe experiences and the great Amygdala..........!!!!!!

I name it TASTE and as I said you or any other gentleman can name it with different word but the genesis is exactly the same.

Do it you a favor in favor of this dialogue: stay away of all what technically you learned, stay out of Audio and try to look in a more universal way. I take it in this way and that's why I said : I don't care, life teach me all what I'm interested or not interested.

R.

OK in this post Raul seems to be saying that human hearing perceptual rules are learned rather than inherited. Are there any other interpretations?

They are inherited as is inherited for example the specific geometry of our pinnae and other inner ears factors conditioning our tastes and our tastes are  learned at the same time as a top maestro biases cumulating history ...All  hearing biases could be innate on some aspect and learned on some other...

As psychoustics investigate taste and personal hearing histories in a statistical way using objective controls parameters determined by acoustics experimental history then acoustics is able to let emerge the general principle and controls parameters behind human hearings evaluation of information and perceived qualities...

Taste there is as Raul said, but this is not about mere taste as atmasphere claim rightfully too ...

The two are right then, but if we spoke about "musicality" as a quality , reducing it to relative hearing human tastes, be it acquired or innated , is common place not very significative fact ...it become interesting when psychoacoustics investigate it statistically to isolate fundamental factors and parameters for audio industry for example or hearing aids etc ...

But at the end so useful are Fourier maps they do not explain hearing because no map so good it is can be confused with the territory of human hearing which is non linear and has created by evolution his own time domain ... We do not have a unanimous single hearing theory explaining it all ...We have a powerful technology yes, but technology is not science , only a tool ...

Musical - it has to be an umbrella that covers a whole raft of performance parameters and requires they be within acceptable limits. I think pace, rhythm, and timing come under the musical umbrella but also tonality and timbre. Since it’s hard to describe a “shrill” or bright sounding product that causes listener fatigue as being musical, then high frequency performance is in there too. 
I agree with distortion but I think that’s more of a cause than a symptom.

Unfortunately I think each of us has our own set of these performance priorities that must be met before we consider something to be musical, hence as an adjective it isn’t a lot of use in relaying a performance measurement that can be understood by a community. It’s like saying “I’m pleased with it”.