into the body of the world and the miracle of this circulation of food substance, dynamically as a streaming of energy, or spiritually as a manifestation of grace (40). Then, the conclusion that [Rowell 61] “reality imitates myths.” This circulation of energies should also include music, which enlightens such manifestations of grace, as far as there are evidences enough about the fact it has followed the development of societies.
[Rowell 60] “According to Frye, a cosmic setting is essential to the operation of myth, bringing the divine, human, animal, vegetable, mineral, and sometimes the demonic worlds into alignment by means of some symbol of verticality, called by Frye a “point of epiphany”(A moment of insight, discovery or revelation by which a character’s life is greatly altered (Gioia G11).), also understood because the four musical scale forms the vertical at the point of epiphany, connecting the four material elements (earth, water, air, fire) with the pagan heaven of Apollo and the three Graces, shown in a dance with arms linked (See the illustration, Cunha 01), and his spirit descends into all of the Muses(61).”The original number of muses and their names varies in earlier times as their evolution blossomed in Greek mythology. At first, three muses were worshipped on Mount Helicon in Boeotia: Melete (“meditation”), Mneme (“memory”), and Aoede (“song”).
Cunha 03
Another three were worshipped at Delphi and their names represented the names of the strings of a lyre: Nete, Mese, and Hypate. Several other versions were worshipped until the Greeks finally established the nine muses in mythology as: Calliope , Clio , Erato ,