There are $12$ months in a year and $12$ notes in the chromatic scale. Moreover, there are $7$ long and $5$ short months and there are $7$ white and $5$ black keys in each octave on the piano keyboard. The patterns of long/short months and white/black keys match as well:
- January (long) — $F$ (white)
- February (short) — $F^\#$ (black)
- March (long) — $G$ (white)
- April (short) — $G^\#$ (black)
- May (long) — $A$ (white)
- June (short) — $A^\#$ (black)
- July (long) — $B$ (white)
- August (long) — $C$ (white)
- September (short) — $C^\#$ (black)
- October (long) — $D$ (white)
- November (short) — $D^\#$ (black)
- December (long) — $E$ (white)
The choice of $12 = 7 + 5$ notes for the music scale is not arbitrary. It is dictated by the desire to have an interval close to a perfect fifth (3:2 frequency ratio) in an equidistant scale. Since there are very few good rational approximations to $\mathrm{log}_2(3/2)$ with a small denominator, the $12$ tone scale is rather unique having the $A-E$ interval with the frequency ratio of $2^{7/12} \approx 1.4983$ which is indistinguishable from $3/2=1.5$ for most people.
I wonder if there is a similar mathematical fact that led to the choices made in the Julian calendar, or this match in the patterns is a pure coincidence.
Even if this parallel is deemed to be a pure coincidence, I still would like to know whether it can be used to restate music-theoretical facts in terms of calendar calculations and vice versa. For example, is there a music-theoretic analog of the Zeller Congruence or the calendar analog of the Circle of Fifths?
Update
Apparently, I was not the first to ask this question and not the only one who believes it is relevant to mathematics. Here are the drawings from a 1985 article by a future Fields medal laureate Maxim Kontsevich.