Within the framework of traditionalism and philosophia perennis, Seyyed Hossein Nasr regards traditional art as a manifestation of the sacred and music as a reflection of cosmic order. In this theoretical system, the Renaissance is interpreted as a turning point marking the rupture from the sacred horizon, and modern art—especially from the Renaissance onward—is generally considered to lack existential connection with the transcendent. Nasr’s theory represents one of the significant metaphysical formulations concerning art in contemporary thought and has had considerable influence, particularly in studies related to Islamic art and traditional music. However, the relationship among the three levels in this theory requires more precise examination: first, the sacred as a transhistorical reality; second, the historical narrative of the Renaissance rupture; and third, objective criteria for distinguishing sacred music from other musical forms. The central problem of this research is how one can reconcile the claim of the transhistorical nature of the sacred with the limitation of its historical realization to traditional societies, and to what extent Nasr’s historical formulation of the Renaissance corresponds with evidence from art and music history. Through an analytical-critical approach, drawing upon Nasr’s primary works, his dialogue with Eliot Deutsch, as well as research in art and music history, this article examines the internal coherence of this theoretical system. The research findings indicate that while the metaphysical foundations of Nasr’s theory possess coherence, conceptual tensions emerge at the level of historical analysis and in determining indicators of musical sacredness—tensions that remain unresolved without more precise reformulation. The aim of this critique is not to negate traditionalism, but rather to identify theoretical gaps whose consideration could contribute to the enrichment of this framework.