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The Mathematics and the Liberal Arts pages are intended to be a resource for student research projects and for teachers interested in using the history of mathematics in their courses. Many pages focus on ethnomathematics and in the connections between mathematics and other disciplines. The notes in these pages are intended as much to evoke ideas as to indicate what the books and articles are about. They are not intended as reviews. However, some items have been reviewed in Mathematical Reviews, published by The American Mathematical Society. When the mathematical review (MR) number and reviewer are known to the author of these pages, they are given as part of the bibliographic citation. Subscribing institutions can access the more recent MR reviews online through MathSciNet.
Dahlke, Richard; Fakler, Robert A. and Morash, Ronald P. A sketch of the history of probability theory. Math. Ed. 5 (1989), no. 4, 218--232. (Reviewer: William J. Adams.) SC: 01A99 (60-03), MR: 91i:01148.
Focuses on the history of probability theory, but also touches on the development of statistics. Considers one ancient root of probability theory to be the gambling with astrogali. Mentions the related ancient Egyptian game "Hounds and Hackals", of c. 3500 BC. Discusses the table of frequencies of tosses of 3 die in De Vetula, and Cardano's and Galileo's explanations of the probabilities of such events. Galileo's telescope led him to consider some of the theory of errors, and he arrived, in effect, at some of the features of the normal probability distribution. (It is interesting that later on, Gauss refined some of his own work in statistics to rediscover the planetoid Ceres.) Discusses the "division of stakes" problem and its solution by Pascal and Fermat. The first book actually published on games of chance was written by Huygens. In addition, as the author explains, "Huygens was the first to use probability in studying vital statistics of humans. He used John Graunt's (London) now famous book displaying vital statistics to construct a mortality curve and to define the notions of mean and probable duration of life. Shortly thereafter, probability theory was being applied to annuities." The article continues through the beginning of the 1900s. Much of this later material is of course beyond the scope of these pages. Closely related topics: Probability, Statistics, Gambling, De Vetula, Girolamo Cardano, Galileo Galilei, Astronomy, Blaise Pascal, Pierre de Fermat, and Insurance.
Proverbio, Edoardo. The contribution of the mechanical clock to the improvement of navigation. Longitude zero 1884--1984 (Greenwich, 1984). Vistas Astronom. 28 (1985), no. 1-2, 95--103. SC: 01A99, MR: 809 625.
It is a relatively simple matter to measure latitude with simple instruments; your latitude is for example nearly equal to the altitude of the pole star above your horizon. Longitude can in theory be determined by what amounts to determining your time zone; this can be determined by noting the time of sunrise. If you note that the sun rises three hours later than it did at home, you would expect to be about 3 time zones, or 45 degrees to the west of home. However, until the mid 1700s, there was no accurate way to keep track of time at sea; traditional methods such as water clocks were hopeless on a moving ship. A solution was proposed by the mathematician and astronomer Galileo, who discovered the moons of Jupiter. These moons occasionally eclipse each other, and if one could predict when that would happen, one would in effect have a clock in the sky. Other mathematical/astronomical methods were proposed as well; in theory if you have accurate enough predictions of the orbit of the moon, you can predict time by observations of the moon as well. Unfortunately, mathematical methods were not yet adequate to predict the positions of astronomical objects with enough accuracy, and the computations could have been difficult for the average sailor in any case. So attention began to focus again on finding a more accurate clock. Some of the problems in clock design involved mathematics as well. For example, it was known that a pendulum will swing in roughly equal time regardless of the size of the swing. (A famous story tells of how Galileo discovered this in church one day, by comparing with his pulse.) "Roughly equal" wasn't good enough, and a mathematically very interesting solution was suggested by the mathematician and scientist Christiaan Huygens. His suggestion involved improving the accuracy of the pendulum by using the tautochrone property of the cycloid. Huygens tried a number of other things as well. Of course, there is much more that doesn't involve mathematics so directly. A fascinating article. Closely related topics: Navigation, The Reckoning of Time, The Clock, Astronomy, Galileo Galilei, and The Cycloid.
Scriba, Christoph J. Mathematics and music. (Danish) Normat 38 (1990), no. 1, 3--17, 52. SC: 01A99 (00A69), MR: 91i:01154.
The author discusses the relationship between mathematics and music from Pythagorean through modern times. His story begins in in Pythagorean times, and as he explains, the notes of the musical scale were then determined by the ratio of a perfect fifth, i.e. 3:2. Twelve intervals of a fifth are roughly equal to seven octaves, but are in reality slightly more than seven octaves, the discrepancy being the "Pythagorean comma" of 312:219, or roughly 74:73. Whole steps in the scale were in the ratio 9:8, and half steps were in the ratio 256:243. Thus two half steps were slightly less than one whole step. In fact, Philolaus noted that one whole note is equal to two half notes plus a Pythagorean comma. Archytas showed that intervals like the octave 2:1, fifth 3:2, fourth 4:3, and whole tone 9:8, or any other interval in the ratio (n+1):n cannot in fact be divided with rational numbers into two equal intervals. However, he noted that the product of the arithmetic mean and the harmonic mean is equal to the square of the geometric mean, so this gave a way of dividing the fifth of 3:2 into the product of 5:4 and 6:5. 5:4 can be thought of as a major third, and 6:5 can be though of as a minor third. So the ratio 3:2 is divided as 6:5:4. Similarly, the fourth of 4:3 can be divided into the product of 7:6 and 8:7, so the ratio 4:3 is divided as 8:7:6. The interval 7:6 can be though of as a shrunken minor third and 8:7 can be though of as an enlarged whole tone. Scriba suggests that the germs of the idea of making this division lie with the Babylonians.In the Renaissance, the musical scale was modified to take some of these ideas into account through the work of theoreticians like Ludovico Fogliano and Giusseppe Zarlino. For example, the ratio for the notes E:C and A:F were changed from the Pythagorean 81:64 (two whole tones) to the ratio 5:4. B moved to stay a whole tone of 9:8 above A. Thus the half tones F:E and c:B were now in the ratio 16:15 rather than the Pythagorean 256:243. The whole tones C:D, F:G, and A:B remained in the ratio 9:8, but the whole tones D:E and G:A were now in the ratio 10:9. (It was roughly in the same time interval that intervals of a third began to be considered consonant.) Sharps and flats did not coincide: C sharp and D flat were for example different notes. However, it wasn't long before there were efforts to make a scale of 12 uniform steps. The first to attempt to do so was Galileo Galilei's father, Vincenso Galilei. He tried to make each step of size 18:17, though that of course led to problems. It was Simon Stevin who first had the idea of making uniform steps of size 21/12.
Later on, some mathematicians even began to question the division of the scale into 12 tones, with the idea that a division into a different number of notes might lead to a more perfect representation of the intervals. For example Christiaan Huygens defined a 31-tone system of temperament in his Lettre touchant le cycle harmonique. One source even suggests that this has "led indirectly to a tradition of 31-tone music in the Netherlands in this century". Leonhard Euler's efforts involved an attempt to reconcile the ideal "octave" 2:1 with the ideal "fifth" 3:2. He analyzed the problem by using a continued fraction representation of the ratio log 2:log 3/2. The convergent 12/7 corresponds to the popular division of 7 octaves into a circle of 12 fifths. Other convergents include 17/12, 29/17, 41/24, and 53/31. In the last case, for example, 31 octaves would be divided into 53 fifths. These didn't answer the question of what kind of equally tempered scale best reconciles the intervals of an octave, fifth, and third (2:1, 3:2, and 5:4) simultaneously. This may or may not influence the course of music, but Scriba shows how an algorithm by the Norwegian mathematician Viggo Brun (1885-1978) gives an answer. If the best answers are written in terms of the number of steps in the three intervals, the best approximations are (2,1,1), (3,2,1), (5,3,2), (7,4,2), (12,7,4), (19,11,6), (31,18,10), (34,20,11), (53,31,17), (87,51,28), .... The triple (12,7,4) is the common case with 12 semitones in an octave, 7 in a "major fifth", and 4 in a "major third". As Scriba explains, the case of the 31 tone scale has been especially important historically. In fact, Scriba tells us that it was back in the middle of the 1600s that Nicolas Vicentino described a "archicembalo" with six manuals with the octave divided into 31 parts; as mentioned above, Huygens clarified this. Moreover, Scriba tells us that Zarlino and Salinas shortly thereafter discussed the division of the octave into 19 equal parts. There is apparently an organ built according to the principles of the Dutch physicist D. Fokker (1887-1972) that also divides the octave into 31 parts (it is now in the Teylers Museum in Haarlem). Along a different line, Euler tried to design a mathematical system to quantify the dissonance of chords, but it apparently did not work very well.
The next part of the article discusses some of the work of Wolfgang Graesers (1906-1928), who tried to do a mathematical study of Bach's Art of the Fugue (this was published under the name Bachs "Kunst der Fuge" (German) in the Bach-Jahrbuch 1924, pages 1-104). Here, group theoretic notions reflect the kinds of transformations, such as inversion, that can be used in a fugue. A background in music theory may be useful in understanding Graesers's work.