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Editorial Reviews
From Publishers Weekly
New York Times music critic Rothstein examines the underlying formal connections between music and math.
Copyright 1996 Reed Business Information, Inc.
From Library Journal
Rothstein, who is both a mathematician and a musician, is currently the chief music critic for the New York Times. In moving back and forth between the worlds of music and mathematics, he has frequently encountered the generally accepted notion that there are many connections between the two. This book attempts "to explain why these connections are far from accidental or incidental and why they reveal something profound about the nature of each activity." Rothstein writes for the lay reader: this decidedly nonmathematical reviewer found the examples from mathematics quite accessible, and the music discussion could be grasped even without the explanatory figures. However, each section of the book focuses mainly on one field or the other, and, for all his clarity, Rothstein does not ever really succeed in drawing them together. Still, academic and larger public libraries should have a sufficient number of patrons who share Rothstein's dual interests, and they will find much to ponder and enjoy in this book.?Martin Jenkins, Wright State Univ. Lib., Dayton, Ohio
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
New York Times music critic Rothstein examines the underlying formal connections between music and math.
Copyright 1996 Reed Business Information, Inc.
From Library Journal
Rothstein, who is both a mathematician and a musician, is currently the chief music critic for the New York Times. In moving back and forth between the worlds of music and mathematics, he has frequently encountered the generally accepted notion that there are many connections between the two. This book attempts "to explain why these connections are far from accidental or incidental and why they reveal something profound about the nature of each activity." Rothstein writes for the lay reader: this decidedly nonmathematical reviewer found the examples from mathematics quite accessible, and the music discussion could be grasped even without the explanatory figures. However, each section of the book focuses mainly on one field or the other, and, for all his clarity, Rothstein does not ever really succeed in drawing them together. Still, academic and larger public libraries should have a sufficient number of patrons who share Rothstein's dual interests, and they will find much to ponder and enjoy in this book.?Martin Jenkins, Wright State Univ. Lib., Dayton, Ohio
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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20
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- Good Taste, Bad Taste, and Christian Taste: Aesthetics in Religious Life by Frank Burch Brown in Back Matter (1), and Back Matter (2)
- Mathematical Treks: From Surreal Numbers to Magic Circles (Spectrum) by Ivars Peterson on page 68, and page 140
- The John Adams Reader: Essential Writings on an American Composer by Thomas May in Back Matter
- The Whole Shebang: A State-of-the-Universe(s) Report by Timothy Ferris in Back Matter
- Fractals in Music: Introductory Mathematics for Musical Analysis (Inmusic (Salt Lake City, Utah), No. 1.) by Charles Madden in Back Matter
See all 20 books citing this book
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