I think what Lynch says is true because the way pictures (without music) flow in time is in a kind of narrative logic (first this happens, now this happens... even if the story isn't chronological), but the way music flows is in an emotional logic, even if the music has lyrics.

This is why theaters that showed silent films paid someone to play the piano or organ, not to read dialogue to the audience.

It's possible to create a film story that has decent narrative flow (even weak scripts tend to have some sort of logical structure) but that does almost nothing to shepherd the emotional experience of the audience.

You can follow the exact same paradigm that a successful film uses, but still not engage the audience to the same degree if the story has no emotional resonance.

How does this affect spec script writers (who are often told not to incorporate specific songs into a screenplay)? I think we have to figure out a way to make the words on the page flow in the same way that notes in a score flow (we need to embed the emotional journey into the logic of the narrative journey). The more a printed script simulates the emotional experience of a filmed script with music, the more enthralling it will probably be.

Most paradigms are based on a macro-structure (Hero's Journey, et al.), but music (e.g. a Bach fugue) uses smaller units and shorter, more self-contained patterns to build emotional identification.