In his Divina commedia, the Italian writer Dante Alighieri thought that music expresses the holy order of the paradise. Many say that his pilgrimage toward salvation consists in the structure of evolution in which he enjoys the perfect harmony of concord in the paradise, apparently different from the disorder of discord he undergoes in the hell. However, when we focus on the polyphony, the particular form of music of the paradise performed by the Blessed, that was the most advanced music to build the highest level of concord derived from the harmony of diverse, heterogeneous chords, we should recognize that the music Dante enjoys in the paradise is well constituted by being associated, inter-geared with the musics (or just the noise) of purgatory and hell; indeed the harmony based on polyphony is the process of a horizontal relation among diverse melodies. Dante intends to express the ultimate status of salvation he finds in the paradise by foregrounding the musical harmony which, however, is no longer an exclusive one limited to the paradise but an inclusive one encompassing the discords produced in the hell. In all we may conclude that the so-called pure concord does not exist, and all the concord and musical harmony may exist by including discords in itself; Dante applied this principle of music to express his idea of the ultimate stage of human salvation.