It certainly does.  This is a huge subject--I'm intrigued by the crossover aspect--where music (including voice intonation--detonation--you said it better!) won't fit in the box, maybe in spite of the desires of the composer(s); or even vice versa: where an individual or group strenuously try to break out of the box, but the wider culture-gravity...I mean, from outside a certain culture it's clear that these attempts are culture-locked...see, I'm worse at describing it than you, for sure!  You made me think of Tchaikovsky composing self-consciously nationalistic music; and Bartok hunting out old folk tunes--they were trying to find some cultural or national or folk soul--this is the kind of conversation I was having when I heard about french music (no words) following the intonations of spoken french.  I think it was immediately following that that we listened to Janacek, Along an Overgrown Path and pondered...what the music expressed of the culture embodied in the language that was being expressed through the music...one of those evenings!

I'm sure this widens out into any cultural divisions--ach, I can't explain it!  I was thinking female/male, now imperial/regional, .  But then--heh!--in the diary I was also pondering the connection of music to mimicry, where (ponder ponder!) you need a certain size of culture (the cities?  The birth of cities always reminds me of margouillat!) before it naturally treats itself as the object(s) rather than assuming human ears as the subject and the non-human sounds as the objects to be mimicked or....I'm sure there's a word...brought somehow into the world of human...expression?

Yes, a huge subject!

Don't fight forces, use them R. Buckminster Fuller.