The musica universalis (literally universal music), also called music of the spheres or harmony of the spheres, is a philosophical concept that regards proportions in the movements of celestial bodies—the Sun, Moon, and planets—as a form of music. The theory, originating in ancient Greece, was a tenet of Pythagoreanism, and was later developed by 16th-century astronomer Johannes Kepler. Kepler did not believe this "music" to be audible, but felt that it could nevertheless be heard by the soul. The idea continued to appeal to scholars until the end of the Renaissance, influencing many schools of thought, including humanism.
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👉 Musica universalis in the context of European science in the Middle Ages
European science in the Middle Ages comprised the study of nature, mathematics and natural philosophy in medieval Europe. Following the fall of the Western Roman Empire and the decline in knowledge of Greek, Christian Western Europe was cut off from an important source of ancient learning. Although a range of Christian clerics and scholars from Isidore and Bede to Jean Buridan and Nicole Oresme maintained the spirit of rational inquiry, Western Europe would see a period of scientific decline during the Early Middle Ages. However, by the time of the High Middle Ages, the region had rallied and was on its way to once more taking the lead in scientific discovery. Scholarship and scientific discoveries of the Late Middle Ages laid the groundwork for the Scientific Revolution of the Early Modern Period.
According to Pierre Duhem, who founded the academic study of medieval science as a critique of the Enlightenment theory of a 17th-century anti-Aristotelian and anticlerical scientific revolution, the various conceptual origins of that alleged revolution lay in the 12th to 14th centuries, in the works of churchmen such as Thomas Aquinas and Buridan.
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Musica universalis in the context of Quadrivium
From the time of Plato through the Middle Ages, the quadrivium (plural: quadrivia, Latin for "four ways") was a grouping of four subjects or arts—arithmetic, geometry, music, and astronomy—that formed a second curricular stage following preparatory work in the trivium, consisting of grammar, logic, and rhetoric. Together, the trivium and the quadrivium comprised the seven liberal arts, and formed the basis of a liberal arts education in Western society until gradually displaced as a curricular structure by the studia humanitatis and its later offshoots, beginning with Petrarch in the 14th century. The seven classical arts were considered "thinking skills" and were distinguished from practical arts, such as medicine and architecture.
The four mathematical arts were recognized by Pythagoreans such as Nicomachus of Gerasa, but the use of quadrivium as a term for these four subjects has been attributed to Boethius, when he affirmed that the height of philosophy can be attained only following "a sort of fourfold path" (quodam quasi quadruvio). It was considered the foundation for the study of philosophy (sometimes called the "liberal art par excellence") and theology. The quadrivium was the upper division of medieval educational provision in the liberal arts, which comprised arithmetic (absolute number), music (relative number), geometry (magnitude at rest), and astronomy (magnitude in motion).