nostr:npub1xyet4zgqzxh084wkkvd3xanfufcw0ezwrqrgxsph97e4uqyte55ql8fuv0 - that's fascinating!  I really like that graph and should someday think about various measures of dissonance or 'resonance' between frequencies.  (I'm already curious about celestial mechanics and how resonances sometimes stabilize orbits and sometimes destabilize them; I've never had time to really understand it.)   

I don't really myself find the fifth to be 'sweet'; I was just trying take the attitude of common practice harmony theory, roughly 1650-1850, where you often read things like:

    The perfect fifth and the perfect octave are considered perfect consonances. The unison is a consonance insofar as it can be considered an interval at all (many say it cannot).
    The major third and sixth, as well as the minor third, sixth, are considered to be imperfect consonances.
    The perfect fourth is dissonant in some contexts but consonant in others (see below). Specifically, the perfect fourth is dissonant when it is formed with the bass note of any sonority.

https://en.wikibooks.org/wiki/Music_Theory/Consonance_and_Dissonance

If I'd wanted to be more technical I would have said "the fifth was the only interval besides the octave to be considered a 'perfect consonance' in the common practice era."   But that would have killed off half my readership!