The musicality of language may also have nothing to do with music per se.
In formal English, the rhythm patterns formed by the words, and intonation, or the rise and fall in pitch by the speaker, as well as the speed and volume, and the deliberate use of silence for contrast, all can be as complicated as a Bach work.
I once coached a young man who was competing in an oratorical contest. His main opponent, we knew, was another youngster who had a very dramatic declamatory style. My man tended to a quieter, more elegiac delivery, which we were afraid would be swamped by comparison with the other young man. I decided he needed to pump up his delivery and to help him do that, we took his script and marked it up, using musical notations like the < and > signs for crescendo and decrescendo, also lines and arrows to indicate rises in pitch, etc. He won.
Poetry is, of course, more musical than prose, although prose like Thomas Cranmer's Book of Common Prayer is hard to beat. Among my favorite poems are Baudelaire's Harmonie du Soir and the Petrarch sonnet which begins, "Di monte in monte, di pensier in pensier". If that's not music, I don't know what is. And language like that has to be read out loud to be appreciated.
