摘要
It is often said that music has reached its supreme and highest level in the 18th and 19th centuries. One of the main reasons for this achievement seems to be the robust structure of compositions of music, somewhat remindful of robust structure of mathematics. One is reminded of the words of Goethe: Geometry is frozen music. Here, we may extend geometry to mathematics. For the Middle Age in Europe, there were seven main subjects in the universities or in higher education. They were grammar, logic and rhetoric—these three (tri) were regarded as more standard and called trivia (trivium), the origin of the word trivial. And the remaining four were arithmetic, geometry, astronomy and music—these four (quadrus) were regarded as more advanced subjects and were called quadrivia (quadrivium). Thus for Goethe, geometry and mathematics seem to be equivocal. G. Leibniz expresses more in detail in his letter to C. Goldbach in 1712 (April 17): Musica est exercitium arithmeticae occultum nescientis se numerari animi (Music is a hidden arithmetic exercise of the soul, which doesn’t know that it is counting). Or in other respects, J. Sylvester expresses more in detail: Music is mathematics of senses. Mathematics is music of reasons. Thus, the title arises. This paper is a sequel to [1] and examines mathematical structure of musical scales entailing their harmony on expanding and elaborating material in [2] [3] [4] [5], etc. In statistics, the strong law of large numbers is well-known which claims that This means that the relative frequency of occurrences of an event A tends to the true probability p of the occurrences of A with probability 1. In music, harmony is achieved according to Pythagoras’ law of small numbers, which claims that only the small integer multiples of the fundamental notes can create harmony and consonance. We shall also mention the law of cyclotomic numbers according to Coxeter, which elaborates Pythagoras’ law and suggests a connection with construction of n-gons by ruler and compass. In the case of natural scales (just intonation), musical notes appear in the form 2p3q5r (multiples of the basic note), where p∈Z,?q=-3, -2, -1, 0, 1, 2, 3 and r=-1, 0, 1. We shall give mathematical details of the structure of various scales.
It is often said that music has reached its supreme and highest level in the 18th and 19th centuries. One of the main reasons for this achievement seems to be the robust structure of compositions of music, somewhat remindful of robust structure of mathematics. One is reminded of the words of Goethe: Geometry is frozen music. Here, we may extend geometry to mathematics. For the Middle Age in Europe, there were seven main subjects in the universities or in higher education. They were grammar, logic and rhetoric—these three (tri) were regarded as more standard and called trivia (trivium), the origin of the word trivial. And the remaining four were arithmetic, geometry, astronomy and music—these four (quadrus) were regarded as more advanced subjects and were called quadrivia (quadrivium). Thus for Goethe, geometry and mathematics seem to be equivocal. G. Leibniz expresses more in detail in his letter to C. Goldbach in 1712 (April 17): Musica est exercitium arithmeticae occultum nescientis se numerari animi (Music is a hidden arithmetic exercise of the soul, which doesn’t know that it is counting). Or in other respects, J. Sylvester expresses more in detail: Music is mathematics of senses. Mathematics is music of reasons. Thus, the title arises. This paper is a sequel to [1] and examines mathematical structure of musical scales entailing their harmony on expanding and elaborating material in [2] [3] [4] [5], etc. In statistics, the strong law of large numbers is well-known which claims that This means that the relative frequency of occurrences of an event A tends to the true probability p of the occurrences of A with probability 1. In music, harmony is achieved according to Pythagoras’ law of small numbers, which claims that only the small integer multiples of the fundamental notes can create harmony and consonance. We shall also mention the law of cyclotomic numbers according to Coxeter, which elaborates Pythagoras’ law and suggests a connection with construction of n-gons by ruler and compass. In the case of natural scales (just intonation), musical notes appear in the form 2p3q5r (multiples of the basic note), where p∈Z,?q=-3, -2, -1, 0, 1, 2, 3 and r=-1, 0, 1. We shall give mathematical details of the structure of various scales.
