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 http://streaming.discoveryeducation.com/teacherCenter/lessonPlans/pdfs/9-12_Math_FibonacciSequence.pdf

Brief explanation of Leonardo of Pisa's finding of the Fibonacci Sequence and its relation
to music.
Throughout the ages, mathematicians have found connections between mathematics
and music. One of the first to do so was the famous mathematician Pythagoras (sixth
century BC), who first noted the fractional pitch relationships in the lengths of strings;
i.e., if one halves a string and plucks it, the pitch is an octave higher. Other
mathematicians have noticed particular patterns in music that have mathematical
properties.
Around the year 1200 BC, the famous mathematician Leonardo of Pisa, who was called
Fibonacci, wrote a book that promoted the use of the number system that is used today.
He also discovered an interesting number pattern: 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144,
233, 377, 610....
The pattern continues forever. It is generated by adding two preceding numbers to find
the third. Through the centuries, mathematicians have noted that the Fibonacci pattern
has many connections to science, art, literature, and music. In Harmony with Education
Program: Bose's Teacher Guide.
https://core.ac.uk/download/pdf/58824887.
pdf
• Ask the students to look around the room and find something that may have a
Fibonacci number associated with it. Students should discover that a keyboard
has 8 white keys, 5 black keys, and 13 notes all together in each octave. Also, the
Pentatonic scale has 5 notes, the Diatonic scale has 8 notes, and the Chromatic
scale as 13 notes – all Fibonacci numbers!
• For further information, tell the students that the vibrations per second of
different musical intervals are in Fibonacci ratios. For example, C and A are 264
cycles per second and 440 cycles per second – a ratio of 3/5, two Fibonacci
numbers. The minor sixth E to C is 330/528 = 5/8.
• You may want to ask more advanced music students to search for other Fibonacci
ratios in musical scores. The ratios between the number of measures in a sonata
exposition, the number of measures in the development and recapituation
sections (together), and the movement as a whole often approximate Fibonacci
ratios. The first movement of Bartok's Music for Strings, Percussion, and Celeste is
a famous example of this means of organization.
http://mmesara.mongroupe.ca/files/2014/11/MFKLessons-Fibonacci-All.pdf
 n= 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 ...
xn = 0 1 1 2 3 5 8 13 21 34 55 89 144 233 377 610 ...

Here is the Fibonacci sequence again:

There is an interesting pattern:
•Look at the number x3 = 2. Every 3rd number is a multiple of 2 (2, 8, 34, 144, 610, ...)
•Look at the number x4 = 3. Every 4th number is a multiple of 3 (3, 21, 144, ...)
•Look at the number x5 = 5. Every 5th number is a multiple of 5 (5, 55, 610, ...)
And so on (every nth number is a multiple of xn).