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Besides merely some pleasure that we get out of the combinations of pitches together and lines, I think that there is some satisfaction that we get in the fact of having this diffuse thing organized very concretely and put onto a frame and have it actually decided.
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The difference between the student and the born composer is he really hears the thing, and they have to stage it and manipulate it by technical equipment.
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Today, with a recording, he can hear the thing enough times until he really gets acquainted with the language, and then he can begin to make an estimate of the intrinsic, aesthetic value of that piece of music.
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By the way, the point between rationality and what we would call the irrational is a very difficult point to establish. There's no specific line, as you know.