In most cases there is a little creative bs going on - they know what they are doing but do not care to have the tools needed to explain it to others. It's like a sculptor who when asked how do they make a sculpture saying, "I keep chipping away what shouldn't be there!" He doesn't talk about his tools or his understanding of the way stone behaves when struck with hammer and chisel, mainly because that sort of thing can only be truly understood by doing, not by thinking in advance; if the stone has a flaw that will shear away a large, whole, part of the block, it has to be worked around or the block has to be reduced in size to make two smaller sculptures.
So some house composers/producers and other pop music composers/producers, don't want to think about their tools or explaining how they work, but rather would just create and leave everyone thinking that it is a great mystery that cannot be solved by analysis.
Unlike a sculptor, however, it is possible to analyse the musical skin and bones being used and to delve deeper and make connections that allow someone else to create similar works of music. Even if you only do it by ear, you are still analysing and unlocking the theory that lies within the work - you can use that knowledge to create new works that are similar in nature: this is the true power of music theory, to know and understand how something is made and to have the power through your skills to duplicate or mimic or even extend into new musical works. Embrace the skills that it brings and be a better musician for it
