**Arithmetic** or arithmetics (from the Greek word = number) is the oldest and most elementary branch of mathematics, used by almost everyone, for tasks ranging from simple day-to-day counting to advanced science and business calculations. It involves the study of quantity, especially as the result of combining numbers. In common usage, it refers to the simpler properties when using the traditional operations of addition, subtraction, multiplication and division with smaller values of numbers. (Wikipedia)

**Carl Friederich Gauss**

"God does **arithmetic**." [Carl Friederich Gauss]

**Ramsay**

The relations which music has to mechanics, the sphere of centers; to geometry, the sphere of measures; and to **arithmetic**, the sphere of numbers, show how deeply seated music is in the nature of things, and how independent it is of the will or choice of the musician. His composition may take any form his inspiration may suggest; they are subject to him; but as to the nature of music and its laws, he must keep himself subject and obedient to them. Music is of the aesthetic; but the aesthetic is of the *nature of things*. [Scientific Basis and Build of Music, page 92]

**Hughes**

The inequality of the equinoctial points is a well-known fact. It will be seen how apparent this is in the developments of harmonies. From the moment that trinities depart from unity, the balance is unequal, and the repeated endeavours after closer union cause a perpetual restlessness. May not this want of equilibrium be the life or motive power of the entire universe, with its continuous struggle after concord, even to oneness? "Closer and closer union is the soul of perfect harmony." In tracing harmonies of tones and colours, the double tones of keyed instruments will be seen to correspond with the intermediate tints and shades of colours. The twelve notes, scales, and chords in the major and minor series, the meetings by fifths, *&c.*, all agree so exactly in their mode of development, that if a piece of music is written correctly in colours with the intermediate tints and shades, the experienced musician can, as a rule, detect errors more quickly and surely with the eye than the ear, and the correct eye, even of a non-musical person, may detect technical errors. Although the **arithmetical relation** has been most useful in gaining the laws, it is not here entered upon; but numbers equally meet all the intricacies both of tones and colours. The bass notes have been omitted, in order to simplify the scheme. [Harmonies of Tones and Colours, The Arabian System of Music, page 21]

**R. A. Schwaller de Lubicz**

"Proportion belongs to geometry and harmony, measurement to the object and to **arithmetic**; and one necessitates the other. Proportion is the comparison of sizes; harmony is the relationship to measures; geometry is the function of numbers." [R. A. Schwaller de Lubicz, The Temple in Man, page 61]

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See Also

**Add**
**Addition**
**Algebraic Values of Trigonometric Functions**
**Division**
**Chord**
**Divide**
**Equals**
**Factoring**
**Geometry**
**Interval**
**law of multiple proportions**
**law of constant composition**
**Law of Definite Proportions**
**Mathematics**
**Minus**
**Multiplication**
**Music**
**Number**
**Proportion**
**Propositions of Geometry**
**Quantum Arithmetic**
**Ratio**
**Stoichiometry**
**Subtraction**
**Sympsionics**
**Times**