Musicians: is the comma what music is really about?

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Background in two sentences: stacking perfect fifths never closes the circle (the Pythagorean comma), so tuning has a permanent unfixable gap, and equal temperament copes by smearing it across all twelve notes. The project reads a lot of musical practice as different responses to that gap.

If you play, compose, tune, or teach: does that framing land, or does it overstate a footnote? Does thinking of a piece by how it treats the gap match anything in how you actually hear or make music -- or is it a theorist's story that performers never feel?