composer Georges Bloch is particularly interesting for some unexpected musical ramifications of Vuza’s original theory. Starting from two practical problems, he suggested how the theory could be generalised in order to take into account some crucial compositional questions. For example, how to use 6-voices canons for a composition which is based on, e.g., five players but in such a way that the 6-voices counterpoint will be perceptible. Another interesting problem is that of finding relationships between different canons having different numbers of voices. This opens the problem of the modulation process between global structures, a problem which has been only solved for some special cases.

Another open question concerning the Minkowski-Hajós problem and the construction of rhythmic tiling canons is whether one can find a general algorithm providing all possible solutions for RCMC-canons with respect to a given cyclic non-Hajós group.²¹

We conjecture that Vuza’s alogorithm can eventually be transfomed into a general one. However--in contrast with Fermat and Minkowski--I am not suggesting that the space around this written text were not long enough to provide evidence for a formal proof, nor that we will shortly be able to provide such a proof. Even if a solution will be found 50 years later, as in the case of the Minkowski-Hajós problem, I prefer to think that any attempt to find a solution to this >mathemusical< problem will be a source of inspiration for both, mathematicians and musicians.