[16] Jordan Mintzer of The Hollywood Reporter calling the film "Whistles its own tune" wrote, "It’s the celebration of a vision Schanelec has meticulously honed over the past three decades, like a late sonata by a composer who has fully come into their voice.

"[17] Ben Croll reviewing for IndieWire graded the film B− and wrote, "For Schanelec, every frame is a manifesto — a canvas to initially cover in layers of meaning that must then be peeled back and stripped down until nothing but the most spartan brushstrokes remain.

She wrote, "Schanelec is unlikely to vastly expand her fanbase here, but the tiny, fervent following she has accrued over the course of now 10 fantastically intricate features may be more than ever entranced by the fertile illogic of “Music"..."[19] To Ola Salwa reviewing for Cineuropa the thing most appealed about the film was "its meditation on fate".

Concluding, Salwa wrote, "In today’s culture, where control and influence – whether real or illusionary – are fetishised, Schanelec’s vision is refreshing, even though it is always clouded one way or another.

"[20] Marina Ashioti writing in Little White Lies stated, "To decipher and derive meaning from a film this dense and obtuse is a Herculean task that only becomes easier when looking at it less a standalone feature, but rather as a fascinating addition to the filmmaker’s body of work.