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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.
Biggs, N. L. The roots of combinatorics. Historia Math. 6 (1979), no. 2, 109--136. (Reviewer: J. Dieudonné.) SC: 05-03 (01A15 01A20 01A25 01A30 01A32 01A40 01A45), MR: 80h:05003.
(1) As the author explains, the most ancient problem connected with combinatorics may be the house-cat-mice-wheat problem of the Rhind Papyrus (Problem 79), which occurs in a similar form in a problem of Fibonacci's Liber Abaci and in an English nursery rhyme. All are concerned with successive powers of 7. (2) The first occurrence of combinatorics per se may be in the 64 hexagrams of the I Ching. (However, the more modern binary ordering of these is first seen in China in the 10th century.) A Chinese monk in the 700s may have had a rule for the number of configurations of a board game similar to go. In Greece, one of the very few references to combinatorics is a statement by Plutarch about the number of compound statements from 10 simple propositions; Plutarch quotes Chrysippus, Hipparchus, and Xenocrates on the subject, so all apparently had some interest in the subject. (Plutarch's statement is also discussed in a recent article in the Monthly.) Boethius apparently had a rule for the number of combinations of n things taken two at a time. The author discusses interest in combinatorics in the Hindu world, by the Jainas, Varahamihira, and Bhaskara (the latter in the Lilavati). The work of Brahmagupta should be relevant, but is not currently available in English. The Arabs seem to have adopted their combinatorics from the Hindus. The author also briefly discusses some interest in combinatorics in the Jewish mathematical tradition; two examples are Rabbi ben Ezra and Levi ben Gerson. (3) Magic squares may first occur in the lo shu diagram, which is often linked with the I Ching. The author discusses how the idea of magic squares may have entered the Islamic world, was then improved, appeared in the work of Manuel Moschopoulos, and possibly through him entered the Western world. What happened in China is less clear. As the author suggests, the the work of Yang Hui suggests that there had been a Chinese tradition of work in magic squares, already dead by Yang Hui's time. For example, the squares Yang Hui gives are not of types found elsewhere. In addition, Yang Hui seems unclear on the techniques for construction. It is interesting that De la Loubère learned of a simple method for constructing magic squares in Siam. The author also discusses: the possibility of a Hindu study of magic squares; the presumably Arab source of Western magic square mysticism; and later developments, such as Euler's questions on orthogonal Latin squares. (4) The author discusses how questions in partitions arose in gambling, such as the throwing of astrogali (huckle bones, which can land 4 ways) or dice (which can land in 6 ways). An early systematic study is in the late Medieval Latin poem De Vetula, which gives the number of ways you can obtain any given total from a throw of 3 dice. Cardano and Galileo examined the subject in more depth. (5) Combinatorial thinking in games and puzzles. Discusses the wolf-goat-cabbage, attributed to Alcuin. [Similar puzzles also occur in a variety of other cultures, but are not discussed in this article.] Also discusses the Josephus problem, based on a process similar to the childhood process of "counting-out". The Josephus problem is named for the Jewish historian Josephus of the 1st century AD, who supposedly saved his life with a correct solution. This problem unexpectedly turned up in Japan. (6) The author discusses how "Pascal's" triangle was possibly known to Omar Khayyam in the context of taking roots. The Hindu scholar Pingala may have known a method, but the case is more cryptic. At any rate, it was known by the time of Halayudha, who may have lived in the 900s AD. A more clear-cut reference occurs in the work of Nasir al-Din al-Tusi in 1265. In China, the triangle appears in the work of Chu Shih-Chieh (1303), but may have been very ancient by then. The triangle was used by Pascal and Fermat to resolve the "problem of points". This problem had the goal of determining how to distribute stakes when a game ends early. ... Excellent article. Closely related topics: Combinatorics, The Rhind/Ahmes Papyrus, Leonardo of Pisa (Fibonacci), The I Ching, Logic, Plutarch, Chrysippus, Hipparchus, Xenocrates, Boethius (Ancius Manlius Torquatus Severinus Boetius), Jainism, Varahamihira, Brahmagupta, Bhaskara, The Islamic World, The Jewish Tradition, Rabbi ben Ezra, Levi ben Gerson, Magic Squares, Manuel Moschopoulos, Yang Hui, Siam, Mathematics and Mysticism, Leonhard Euler, Gambling, De Vetula, Girolamo Cardano, Galileo Galilei, Puzzles, Alcuin, The Josephus Problem, Japan, Pascal's Triangle, Omar Khayyam (abu-l-Fath Omar ibn Ibrahim Khayyam), Pingala, Halayudha, Nasir al-Din al-Tusi, Chu Shih-chieh, Blaise Pascal, and Pierre de Fermat.
Chandrasekhar, S. Shakespeare, Newton and Beethoven or patterns of creativity. Current Sci. 70 (1996), no. 9, 810--822. SC: 01A99, MR: 1 387 202.
Discusses the creative lives of Shakespeare, Newton, and Beethoven. The example of Newton contrasts with the other two, particularly in how old they were when they did their most creative work. While the best work of poets is often later in life, G. H. Hardy tells us that the best work of mathematicians is generally when they are young. Chandrasekhar gives the additional examples of the mathematicians or scientists James Clerk Maxwell, George Gabriel Stokes, and Albert Einstein. Lord Rayleigh's example is different, and gives us a possible explanation of the differences we've seen. In the words of J. J. Thomson, "There are some great men of science whose charm consists in having said the first word on a subject, in having introduced some new idea which has proved fruitful; there are others whose charm consists perhaps in having said the last word on the subject, and who have reduced the subject to logical consistency and clearness. I think by temperament Lord Rayleigh belonged to the second group." Chandrasekhar then discusses the importance of beauty to mathematics and science, and concludes with statements of scientists and poets on one or the other of the two disciplines (some comments are more favorable than others). Closely related topics: Creativity, Shakespeare, Isaac Newton (1642-1727), and Beethoven.
Cox, Steven J. The shape of the ideal column. Math. Intelligencer 14 (1992), no. 1, 16--24. (Reviewer: Peeter Müürsepp.) SC: 01A99 (00A69), MR: 93a:01072.
Discusses the shape of the "ideal" column. Shows how the aesthetic and perceptual ideals of Greek and Roman times were relayed by Vitruvius and later by Alberti and others. Then shows how later scientists considered the problem from the point of view of structural strength instead. A key player in this new point of view was Lagrange. The author discusses mistakes in Lagrange's work and in the work of some later scientists and mathematicians. It is interesting that the author himself has made investigations in this area (together with M. L. Overton). The article Kirmser, Philip G. and Hu, Kuo-Kuang, The shape of the ideal column reconsidered is critical of these investigations, and includes a response by Cox. Closely related topics: The Column, Vitruvius, Leone Battista Alberti (1404?--1472), Statics, and Joseph Louis Lagrange.
Evans, Brian. Number and form and content: a composer's path of inquiry. The Visual Mind, 113--120, Leonardo Book Series, MIT Press, Cambridge, Mass., 1993.
The author shows how the golden ratio occurs in music and art. His examples include Mozart's Symphony in G Minor, Grant Wood's American Gothic, Piet Mondrian's Composition with Blue, and some of his own musical and visual compositions. More controversial examples include the Great Pyramid in Egypt and Stonehenge, where the author shows how approximate values of both pi and the golden ratio can be found. The author mentions Luca Pacioli's statements on the golden ratio in De Divina Proportione and discusses other aspects of the philosophy of number and art as well. Closely related topics: Proportion and the Golden Ratio, Music, Art, Wolfgang Amadeus Mozart (1756-1791), Luca Pacioli, The Egyptian Pyramids, and The Stone Builders.
Fauvel, John and Gerdes, Paulus. African slave and calculating prodigy: bicentenary of the death of Thomas Fuller. Historia Math. 17 (1990), no. 2, 141--151. SC: 01A70 (01A10), MR: 91h:01051.
Thomas Fuller, who showed remarkable ability in mental computation, was born in Africa and was sold as a slave when he was 14. It would be interesting to know more about where he came from and what the educational practices of the area he came from were. His abilities were not isolated, as there is for example evidence of highly developed ability in mental computation among the African slave traders of the era. The article is at least as much about the way Thomas Fuller's accomplishments were discussed and used by his contemporaries as about Fuller himself. The article includes the text of two sources contemporary with Fuller, one by Benjamin Rush (one of the signers of the Declaration of Independence). The authors also mention Francis Williams, who achieved some fame as a poet and a mathematician. Little is known about Williams' mathematics, but Gerdes does include a sample of Williams' verse (the sample is in Latin). Closely related topics: Thomas Fuller (1710-1790) and Mental Arithmetic.
Gerdes, Paulus. On mathematics in the history of sub-Saharan Africa. Historia Math. 21 (1994), no. 3, 345--376. SC: 01A13, MR: 95f:01003.
This paper broadly surveys the recent research in sub-Saharan mathematics (and some related areas as well). Areas discussed include prehistoric mathematics (e.g., the Ishango and Border Cave bones), number systems and symbolism (including algorithms and education), games and puzzles (for example, a leopard-goat-cassava leaf river crossing problem and a "topological" puzzle), symmetry in African art, graphs or networks (e.g. Tschokwe sand drawings), architecture (one case involving magic squares; also a brief reference to fractals). Gerdes mentions string figures as a possibly productive future research area; he gives some starting points. He also discusses related areas, such as technology, and studies on language and mathematical concepts. A goal of the studies mentioned is apparently to better understand mathematics learning in Africa. Some studies focus on logic. Questions on interaction with ancient Egypt are still largely open. A better understanding of Islamic mathematics in sub-Saharan Africa is desirable as well. The author also touches on factors connected with the slave trade; e.g., the remarkable but not perhaps entirely atypical abilities of Thomas Fuller. Includes an extensive bibliography. Closely related topics: Sub-Saharan Africa, TallySystems, Games, Puzzles, Topology, Symmetry, Continuous Tracing Problems, Architecture, Magic Squares, Fractals in Art, String Figures, Ancient Egypt, The Reckoning of Time, Education, Mathematics in Language, Logic, The Islamic World, and Thomas Fuller (1710-1790).
Grattan-Guinness, I. Mozart 18, Beethoven 32: hidden shadows of integers in classical music. History of mathematics, 29--47, Academic Press, San Diego, CA, 1996. SC: 01A99 (00A69), MR: 97a:01075.
Discusses number symbolism in the works of Mozart and Beethoven. With Mozart, discusses in particular Die Zauberflöte and the last three symphonies (and particularly the Symphony in g of 1788). There is also some evidence that Mozart used gematria. Literary sources also attest to Mozart's interest in numerology. With Beethoven, focuses primarily on Piano Sonata op. 111 (no. 32), the Diabelli Variations, and the Missa Solemnis. The choice of opus numbers themselves appear to show an interest in numerology. The author suggests that some knowledge of the history and conventions of numerology would be useful before reading this article. The author's own article in the Companion Encyclopedia of the History and Philosophy of the Mathematical Sciences may be useful in this regard. The author also suggests some avenues for future research. Closely related topics: Music, Numerology, Gematria, Wolfgang Amadeus Mozart (1756-1791), and Beethoven.
Grattan-Guinness, I. Some numerological features of Beethoven's output. Ann. of Sci. 51 (1994), no. 2, 103--135. SC: 01A99 (00A69), MR: 1 278 119.
The author discusses possible occurrences of number symbolism in Beethoven's compositions. A large number of examples are used to buttress his arguments, and some prior familiarity with Beethoven's work might be useful. In some cases, numbers occur as the number of measures or notes of a them or motif, and in other cases in Beethoven's choice of opus numbers. (In contrast with the common practice of the time, Beethoven chose his opus numbers himself, and the numbers chosen could at times be seriously at variance with the order of composition.) The author's conclusions have been controversial, partly because Beethoven has often been regarded as being quite poor at arithmetic. The author discusses this objection and aspects of methodology in some detail. Closely related topics: Numerology, Music, and Beethoven.
Hunt, J. N. House numbering in revolutionary Paris. Bull. Inst. Math. Appl. 31 (1995), no. 9-10, 145--145. SC: 01A99 (01A50), MR: 1 352 301.
A variety of systems for numbering houses were used in Paris, both before and after the Revolution. The author discusses several of these systems, each of which had at least one fatal flaw. For example, in one system, the same number could be used several times on one street, so that if you were dropped in the middle of a street and wanted to find a given address, it could be impossible to know what direction to proceed. After many unsuccessful attempts to develop a workable system, an "ordinary citizen by the name of Garros [proposed] the eminently reasonable system in which numbers were to be attached to successive doorways, odd numbers on the left and even numbers on the right, beginning from the end nearest to the centre of Pairs. Although Initially rejected for flimsy reasons such as 'It needed equal numbers of houses on each side,' or 'What about the banks of the Seine?,' it was generally well received." An earlier suggestion had also been kept, "to number houses in the direction of river flow for streets that were more or less parallel to the Seine, and away from the river for the remainder." As the author observes discussing one of the systems, "a Graph Theorist might devise a more convenient system", and indeed some of the issues involved could lead to interesting problems in graph theory. Closely related topics: Cartography, France in the 1700s, and Graph Theory.
Kudlek, Manfred. Calendar systems. Mathematische Wissenschaften gestern und heute. 300 Jahre Mathematische Gesellschaft in Hamburg, Teil 2. Mitt. Math. Ges. Hamburg 12 (1991), no. 2, 395--428. (Reviewer: J. S. Joel.) SC: 01A99 (00A69), MR: 92j:01079.
A rare and unusually wide ranging look at calendar systems in a variety of cultures. Explains some of the astronomical issues involved. The author discusses calendars of Egypt, Babylonia, the Roman Empire, Greece (Athens), the Islamic World (especially Persia), India, China (only gives a taste, since more than 50 official calendars were used), Japan and Vietnam (their calendars were connected with China), Java, Bali, Guatamala (by the Cakchiquel Indians), revolutionary France, the Mayas, and in the Jewish tradition. Discusses the computation of the date of Easter. (The computation of Easter was of course one of the primary goals of mathematics instruction in the middle ages.) There is information on how to correlate these calendars as well (in terms of Julian dates). Closely related topics: The Calendar, Ancient Egypt, Sumerians and Babylonians, The Roman Empire, Greece, The Islamic World, India, China, Japan, Vietnam, Java, Bali, The Maya, Guatemala (and Cakchiquel Indians), France in the 1700s, The Jewish Tradition, and Religion.
Lumpkin, Beatrice. From Egypt to Benjamin Banneker: African origins of false position solutions. Vita mathematica (Toronto, ON, 1992; Quebec City, PQ, 1992), 279--289, MAA Notes, 40, Math. Assoc. America, Washington, DC, 1996. SC: 01A05 (01A13), MR: 1 391 748.
Discusses the work of the Benjamin Banneker, who is perhaps the most interesting early American mathematician. The author gives a fine introduction to Banneker's life; this is necessarily brief, because as the author observes, his house burned down on the day of his funeral, destroying almost all his papers. She notes that there were hints of his genius starting with his building of a wood clock at the age of 22 (he used a borrowed pocket watch as a model; unfortunately, the clock was destroyed in the fire); he thereafter became famous for his ability to solve and create mathematical puzzles. "People sent him puzzles from all over the colonies and later from the new republic." His work became more serious when he was 57 and borrowed some books and astronomy instruments from a neighbor. He taught himself the mathematics he needed to become an astronomer, and published local almanacs including things such as the planetary positions and the times of sunrise, sunset, moonrise, moonset, eclipses, and tides. "Based on Banneker's work on his almanac, he was appointed an astronomer on the team of surveyors that drew up the outline for the new nation's capital, Washington, DC. Banneker was appointed because he was one of the few in the country capable of doing such work. Charles Leadbetter, author of an astronomy book that Banneker studied, wrote that knowledge of astronomy in London was 'so rare, ... not one of 20,000 hath attained to it.' Knowledge of astronomer", Lumpkin continues, "was even rarer in the new United States. Banneker's work so impressed Thomas Jefferson, then Secretary of State, that he wrote Banneker that he was sending a copy of the almanac to the Paris Academy of Sciences." Most amazing of all is that Banneker accomplished all this as an African American who had spent most of his life thus far hard physical labor. After this introduction, the author focuses on how Banneker and other mathematicians used the rule of false position. She notes, the rule of false position was used by the Egyptians in the time of the Rhind Papyrus and in a variety of other Egyptian sources (e.g., the Kahun and Berlin papyri), in the work of Alexandrian Greeks like Diophantus (c. 250 AD), in the work of Islamic mathematicians such as Abu Kamil (b. 850 AD), and in the work of the mathematician Leonardo of Pisa (Fibonacci) (who was also influenced by the work in Northern Africa). The author then discusses some interesting false position problems from Banneker's own work. Closely related topics: Benjamin Banneker, The Method of False Position, The Rhind/Ahmes Papyrus, Ancient Egypt, Diophantus, Abu Kamil (b. 850), and Leonardo of Pisa (Fibonacci).
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.