taught, namely, that the whole world was constructed according to musical ratio, and that the seven planets … have a rhythmical motion and distances adapted to musical intervals, and emit sounds, every one different in proportion to its height [Saturn was said to be the highest, as it is the farthest away, and was supposed to give the gravest note of the heavenly Diapason, which note was therefore called Hypate, or 'highest'], which sounds are so concordant as to produce a most sweet melody, though inaudible to us by reason of the greatness of the sounds, which the narrow passages of our ears are not capable of admitting.'
These extracts fairly represent the ancient opinion about the Music of the spheres. There was a strong tendency last century to revive the notion, and even to our modern ideas, with our Copernican astronomy, there remains at least the possibility of drawing fantastical analogies between the proportionate distances of the planets and the proportionate vibration numbers of the partial tones in a musically vibrating string or pipe.
The idea of the musical Chorus or dance of the heavenly bodies was perfectly familiar to all writers in the 16th and 17th centuries. An excellent example
