Although there are an infinite amount of prime numbers, the hunt for the largest has in recent years centred on rare Mersenne primes, named after Marin Mersenne
, a 17th-century French monk and mathematician.
Essays address music functioning within esoteric and scientific traditions and theories and works by authors like Marsilio Ficino, Tommaso Campanella, Athanasius Kircher, Johannes Kepler, Marin Mersenne
, Abu Ma'shar, and Giovanni Battista della Porta, or the influence of those traditions on musical works, such as pieces by John Dowland, Ferruccio Busoni, Orlando di Lasso, Alexander Scriabin, and Anton Webern.
Euclid discussed them in 350 BC but they bear the name of the 17th century French monk, Marin Mersenne
, who made a study of them.
Scholars whose research concerns the philosophers Rene Descartes and Marin Mersenne
, the poet and historian P.
It is against the lively discourse of the Renaissance thinkers that Palisca then summarizes the positions taken in the next century by Athanasius Kircher, Descartes, and Marin Mersenne
He summarizes the theories and the trial and the prevailing French intellectual climate, then reports on early contacts and the responses by Marin Mersenne
, Peiresc and Gassendi, and Descartes.
The new champion is a so-called Mersenne prime, named after the 17th-century monk Marin Mersenne
who formulated a famous but incorrect conjecture about these numbers.
Numbers expressed in this form are called "Mersenne" prime numbers after Father Marin Mersenne
, a 17th century French monk who spent years searching for prime numbers of this type.
The discovery marks only the 39th known Mersenne prime, named after Marin Mersenne
, a 17th century French monk who first studied the numbers.
It was addressed to Father Marin Mersenne
, who was overseeing the book's publication.
Mersenne numbers were named after Marin Mersenne
(1588-1648) who was a pioneer in the search for prime numbers.
After a brief introductory essay which, through consideration of the varied instrumental forces used to depict or accompany staged presentations of the (aptly chosen) Orpheus legend from 1480 to 1791, articulates the fundamental question of what makes a grouping of instruments an orchestra, the authors survey various approaches taken by earlier writers, such as Marin Mersenne
, Johann Mattheson, Jean-Jacques Rousseau, and Adam Carse, among others, and assess the relative strengths and weaknesses of their approaches.