What is difficult with any discussion on music is that it cannot be objectively determined whether or not the music in question is a matter of beauty. On the other hand, we know that in the world there are some cultural areas where beauty is not known in connection with music. In this essay by introducing into play Wittgenstein's idea of "language game," the author proposes a theoretical model to recognize variouis kinds of musical beauty. According to the latter Wittgenstein, what is supporting personal feeling and experience is not the inside of experience, but the behavior that forms these two. Wittgenstein called this behavior "language game." Musical beauty whose experience is impossible to certify, therefore, should be described as a form of language game. For this purpose, the author defined four kinds of musical games, that is, "game of approval gesture," "game of tone continuation and repetition," "game of tone continuation and repetition," "game of beauty black box" and "game of change." We can then recognize any musical act from primitive stage to well-developed stage as one of these four language games. In this process, musical beauty that is impossible to certify can successfully be placed. Everyone concerned with music acts out one of the language games, resulting in the appearance and disappearance of the beauty. In the case of describing musical beauty using this process, the tautology as seen in the definition of deauty is to be avoided.