A Quote by Keith Devlin
Just as music comes alive in the performance of it, the same is true of mathematics. The symbols on the page have no more to do with mathematics than the notes on a page of music. They simply represent the experience.
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May not music be described as the mathematics of the sense, mathematics as music of the reason? The musician feels mathematics, the mathematician thinks music: music the dream, mathematics the working life.
Most people have some appreciation of mathematics, just as most people can enjoy a pleasant tune; and there are probably more people really interested in mathematics than in music. Appearances suggest the contrary, but there are easy explanations. Music can be used to stimulate mass emotion, while mathematics cannot; and musical incapacity is recognized (no doubt rightly) as mildly discreditable, whereas most people are so frightened of the name of mathematics that they are ready, quite unaffectedly, to exaggerate their own mathematical stupidity
One of the biggest problems of mathematics is to explain to everyone else what it is all about. The technical trappings of the subject, its symbolism and formality, its baffling terminology, its apparent delight in lengthy calculations: these tend to obscure its real nature. A musician would be horrified if his art were to be summed up as "a lot of tadpoles drawn on a row of lines"; but that"s all that the untrained eye can see in a page of sheet music... In the same way, the symbolism of mathematics is merely its coded form, not its substance.
Mystery is an inescapable ingredient of mathematics. Mathematics is full of unanswered questions, which far outnumber known theorems and results. It's the nature of mathematics to pose more problems than it can solve. Indeed, mathematics itself may be built on small islands of truth comprising the pieces of mathematics that can be validated by relatively short proofs. All else is speculation.
Music is mathematics, the mathematics of listening, mathematics for the ears.
Mathematics is much more than computation with pencil and a paper and getting answers to routine exercises. In fact, it can easily be argued that computation, such as doing long division, is not mathematics at all. Calculators can do the same thing and calculators can only calculate they cannot do mathematics.
The broader the chess player you are, the easier it is to be competitive, and the same seems to be true of mathematics - if you can find links between different branches of mathematics, it can help you resolve problems. In both mathematics and chess, you study existing theory and use that to go forward.
On foundations we believe in the reality of mathematics, but of course, when philosophers attack us with their paradoxes, we rush to hide behind formalism and say 'mathematics is just a combination of meaningless symbols,'... Finally we are left in peace to go back to our mathematics and do it as we have always done, with the feeling each mathematician has that he is working with something real. The sensation is probably an illusion, but it is very convenient.
Yes, the fear of its blankness. At the same time, I kind of loved it. Mallarmé was trying to make the page a blank page. But if you're going to make the page a blank page, it's not just the absence of something, it has to become something else. It has to be material, it has to be this thing. I wanted to turn a page into a thing.
Books are frozen voices, in the same way that musical scores are frozen music. The score is a way of transmitting the music to someone who can play it, releasing it into the air where it can once more be heard. And the black alphabet marks on the page represent words that were once spoken, if only in the writer's head. They lie there inert until a reader comes along and transforms the letters into living sounds. The reader is the musician of the book: each reader may read the same text, just as each violinist plays the same piece, but each interpretation is different.
Cooking is just as creative and imaginative an activity as drawing, or wood carving, or music. And cooking draws upon your every talent--science, mathematics, energy, history, experience--and the more experience you have, the less likely are your experiments to end in drivel and disaster. The more you know, the more you can create.
Mathematics, rightly viewed, possesses not only truth, but supreme beauty a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the georgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show. The true spirit of delight, the exaltation, the sense of being more than Man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as in poetry.
Music at times is more like perfume than mathematics.
There's something mathematically satisfying about music: notes fit together and harmony and all that. And mathematics has to do with abstractions and making connections.
The marks on our lives are like music notes on the page--they sing a song.
A number of aspects of mathematics are not much talked about in contemporary histories of mathematics. We have in mind business and commerce, war, number mysticism, astrology, and religion. In some instances, writers, hoping to assert for mathematics a noble parentage and a pure scientific experience, have turned away their eyes. Histories have been eager to put the case for science, but the Handmaiden of the Sciences has lived a far more raffish and interesting life than her historians allow.
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