In music education research, closely observing the practice of children and teachers, and examining their meanings are important endeavors. Among these, research utilizing linguistic data from lesson observations, fieldwork, and interviews has increasingly been recognized as “qualitative.” This approach has contributed to the development of new theories and hypotheses. During its formative period, qualitative research emphasized its reliance on methodologies distinct from natural science (positivist) research. As it evolved to establish its current academic standing, it diversified by flexibly expanding its methodologies. Various methods/methodologies not solely reliant on language, such as Denzin's (2003) Performance Ethnography, have been proposed. Nevertheless, even within these approaches, verbalization remains unavoidable in music, as thought is mediated through language. Recognizing this, researchers conducting qualitative studies have focused on verbalizing, understanding, and interpreting events. However, when music is the subject of research, what should be emphasized in the verbalization process? Phenomena perceived by the sensory organs (especially sound) become “music” when humans assign meaning to them. Within this process, which aspects should be verbalized to constitute research? This presentation aims to address this question by referencing Wittgenstein's early work, Tractatus Logico-Philosophicus, to examine the relationship between human cognition and verbalization, offering two major insights. (1) As evident from the opening statement, “The world is the totality of facts, not of things,” Wittgenstein asserts that humans confront “the totality of facts,” rather than isolated “things” such as “individuals,” “properties,” or “relationships.” This suggests that when describing music, focusing solely on the sounds produced, the characteristics of space, or the relationships among sounds, objects, or humans, are highly limited and insufficient. Essentially, when describing music, it is necessary to describe it as a “totality of facts,” rather than treating its elements as isolated “things.”(2) However, humans seek “possibility” through “facts.” Therefore, “A state of affairs is a combination of objects,” i.e., “objects (things)” must be combined using the picture called “language.” This allows the partial refinement of suggestion (1): while extracting and describing elements of music are not necessarily negated, these elements must always be reconstructed as a state of affairs through language.Given the current expectation for further diversification of methods in music education research, the findings of this presentation are anticipated to provide insights into what should be established as common ground for such research.