860:
168:
1147:
66:
25:
764:
373:, a musician engaged to teach him the "elements" of musical theory and notation. Loulié and Sauveur joined forces to show the prince how mathematics and musical theory were inter-related. Remnants of this joint course have survived in Sauveur's manuscript treatise on the theory of music, and in Loulié's
563:
It was not until 1701 that
Sauveur presented the results of his research to the Academy. The presentation was studded with jibes about musicians and their closed minds. In this same presentation, he rightly criticized Loulié's practical inventions as insufficiently scientific. In 1696, Loulié had
515:
In 1696, Sauveur had been elected to the French Royal
Academy of Sciences and most of his work on acoustics was therefore done under its aegis. He soon ran into what proved to be an insurmountable obstacle: the musicians who were serving as his ears and voices had become exasperated at the
516:
mathematician's insistence upon using those new measuring units, arguing that they were simply too small for the human ear to distinguish and the human voice to replicate. Furthermore, they did not like the equal tuning he was proposing for instruments, nor the
343:
556:.... (Sauveur had broken the octave into 3,010 parts.) A break took place circa 1699, and Sauveur had difficulty completing some of his experiments. Actually, Loulié had begun going his own way by 1698, when he published a little book called the
392:). But, as Fontenelle pointed out, "He had neither a voice nor hearing, yet he could think only of music. He was reduced to borrowing the voice and the ear of someone else. and in return he gave hitherto unknown demonstrations to musicians." The
335:, the "father of French hydraulics. Condé became very fond of Sauveur and severely reprimanded anyone who laughed at the mathematician's speech impairment. Condé would invite Saveur to stay at Chantilly. It was there that Sauveur did his work on
396:
did everything he could to make the undertaking successful. Sauveur's work, continued
Fontenelle, resulted in "a new musical language that was more convenient and more broad, a new system of sounds, an unusual
572:: Loulié's invention was not based on the second, and the swings of the pendulum were not related to one specific note value. In that same presentation before the Academy, Sauveur presented his own
388:. As Fontenelle put it, Sauveur laid out a vast plan that amounted to the "discovery of an unknown country", and that created for him a "personal empire", the study of "acoustical sound" (
576:
for tuning harpsichords (it was based on an octave divided into equal units composed of the tiny, precise units of his "new system"); and he contrasted his invention with Loulié's
583:
Sauveur, whom a contemporary described as "over-obliging, gentle, and humorless", was declared a "pensioned veteran" of the
Academy in on March 4, 1699. He died in Paris in 1716.
1201:
568:, which Loulié had invented with practicing musicians in mind. Now, in 1701, Sauveur focused on the shortcomings of his former colleague's device, compared with his own
282:, the son of a provincial notary. Despite a hearing and speech impairment that kept him totally mute until he was seven, Joseph benefited from a fine education at the
405:, fixed sound , the nodes of undulating strings. This pushed him all the way to the music of the ancient Greeks and Romans, the Arabs, the Turks and the Persians."
560:, which presents his work with Saveur from a musician's perspective. Loulié's surviving manuscripts round out the musician's contributions to Sauveur's project.
1191:
1186:
1231:
1226:
1221:
1069:
377:. In the years that followed, Sauveur taught mathematics to various princes of the royal family. In 1686 he obtained the mathematics chair at the
324:
381:, which granted him a rare exemption: since he was incapable of reciting a speech from memory, he was permitted to read his inaugural lecture.
314:. By 1680, he was something of a pet at court, where he gave anatomy courses to courtiers and calculated for them the odds in the game called "
630:
286:
College of La Flèche. At seventeen, his uncle agreed to finance his studies in philosophy and theology at Paris. Joseph, however, discovered
416:, which he derived from the ancient Greek word ακουστός, meaning "able to be heard". His work involved researching the correlation between
189:
1181:
1176:
796:
361:, Louis XIV's nephew. For the prince, he drew up a manuscript outlining the "elements" of geometry and, in collaboration with Marshal
646:
Bibliothèque nationale de France, ms. n.a. 4674, Joseph
Sauveur's "Traité de la Théorie de la Musique (1697) (his work with musician
229:
211:
149:
52:
1216:
700:
83:
38:
130:
87:
102:
741:
Patricia M. Ranum, "Le
Musicien Tailleur: Étienne Loulié et la musique des Anciens", in Louise Godard de Donville, ed.,
109:
908:
182:
176:
666:
Bibliothèque nationale de France, ms. fr. 14737, "Éléments de géométrie par Mr. Sauveur" (used to teach the princes)
1196:
299:
267:
76:
1029:
768:
193:
116:
1084:
655:
Joseph
Sauveur's "Treatise of the Theory of Music". A Study, Diplomatic Transcription and Annotated Translation
365:, a manuscript on the "elements of military fortification." (In 1691 Sauveur and Chartres were present at the
660:
Bibliothèque nationale de France, ms. fr. 12381, Joseph
Sauveur's "Éléments de fortification" written for the
726:
Patricia M. Ranum, "Étienne Loulié (1654–1702), Musicien de
Mademoiselle de Guise, Pédagogue et Théoricien",
964:
821:
789:
328:
98:
903:
813:
748:
Adam Fix, “A Science
Superior to Music: Joseph Sauveur and the Estrangement between Music and Acoustics,”
580:, approved by the Academy in 1699, which replicated the unequal intervals actually being used in France.
432:, ranges of voices and musical instruments, et al. He also created a measure of intervals concerning the
1171:
1044:
942:
859:
846:
424:, and – putting Fontenelle's statements in modern terms – he conducted studies on subjects such as the
1211:
1206:
735:
694:
684:
674:
647:
378:
370:
366:
1064:
974:
44:
1150:
996:
947:
782:
351:
316:
307:
986:
597:
441:
357:
During the summer of 1689, Sauveur was chosen to be the science and mathematics teacher for the
1120:
952:
626:
303:
1130:
1049:
1013:
981:
932:
841:
731:
661:
602:
425:
393:
358:
332:
123:
1125:
1079:
920:
878:
734:); and 26 (1988–1990), pp. 5–49 (especially pp. 5–26, on his collaboration with
440:'s 1637 theories are correct, his measurements are not very exact, and his calculation of
311:
250:
693:(Paris, 1704), for 1701, pp. 123–139, 298–318 (his work on acoustics with musician
1059:
1006:
437:
1165:
1039:
1001:
969:
924:
886:
836:
831:
506:
445:
421:
255:
323:
In 1681, Sauveur did the mathematical calculations for a waterworks project for the
1034:
720:
592:
336:
384:
Circa 1694, Sauveur began working with Loulié on "the science of sound", that is,
279:
730:, 25 (1987), pp. 27–75 (especially, pp. 67–75, on the education of the
1054:
866:
705:Éloges des Académiciens de l'Académie Royale des Sciences morts depuis l'an 1699
263:
65:
342:
1115:
1105:
891:
896:
826:
805:
673:, vol. 20, February through April 1701 (his work on acoustics with musician
453:
449:
429:
417:
409:
398:
385:
295:
259:
745:(Marseille, 1987), pp. 239–59 (on the musicians' dispute with Sauveur)
763:
306:. Despite his handicap, Joseph promptly began teaching mathematics to the
991:
959:
291:
657:, Studies in Music from the University of Western Ontario, vol. 11, 1987
937:
683:(Paris, 1701), pp. 299–366 (his work on acoustics with musician
480:
433:
362:
287:
283:
1110:
564:
published a description of a metronome-like instrument called the
341:
1100:
778:
714:(Paris 1700–1713); edited by Rudolf Rasch (The Diapason Press)
161:
59:
18:
774:
536:, and so forth that were supposed to replace the familiar
408:
Sauveur is known principally for his detailed studies on
505:
Also 1/55 of an octave would become known as a "Sauveur
452:. The following are some of the terms Sauveur used as
412:. Indeed, he has been credited with coining the term
369:
by the French.) Another of the prince's teachers was
310:'s pages and also to a number of princes, among them
1093:
1022:
919:
877:
812:
623:
Sounds of Our Times: Two Hundred Years of Acoustics
444:was greatly improved by Sauveur through the use of
90:. Unsourced material may be challenged and removed.
350:(1753) by Joseph Sauveur, edited and augmented by
669:Archives of the Académie des Sciences, Paris,
290:and turned to anatomy and botany. He soon met
790:
8:
254:; 24 March 1653 – 9 July 1716) was a French
717:French Knowledge (XXG) Site; Joseph Sauveur
53:Learn how and when to remove these messages
797:
783:
775:
743:D'un Siècle à l'autre: Anciens et modernes
691:Histoire de l'Académie Royale des Sciences
681:Mémoires de l'Académie Royale des Sciences
1202:Members of the French Academy of Sciences
230:Learn how and when to remove this message
212:Learn how and when to remove this message
150:Learn how and when to remove this message
475:): 1/301 part of an octave, or 1/7 of a
298:; and Cordemoy soon sang his praises to
175:This article includes a list of general
712:Collected Writings on Musical Acoustics
614:
499:: 1/3010 part of an octave; 1/10 of an
479:; this term would later be known as a
489:: 1/602 part of an octave; 1/2 of an
249:
7:
88:adding citations to reliable sources
266:and in 1696 became a member of the
1192:18th-century French mathematicians
1187:17th-century French mathematicians
181:it lacks sufficient corresponding
16:French mathematician and physicist
14:
348:Geometrie élémentaire et pratique
34:This article has multiple issues.
1232:17th-century French male writers
1227:18th-century French male writers
1146:
1145:
858:
762:
166:
64:
23:
1222:French male non-fiction writers
707:(Paris, 1766), pp. 424–438
703:, "Éloge de Monsieur Sauveur",
75:needs additional citations for
42:or discuss these issues on the
1:
721:Logarithmic Interval Measures
621:Beyer, Robert Thomas (1999).
278:Joseph Sauveur was born in
1248:
1182:18th-century French people
1177:17th-century French people
268:French Academy of Sciences
1141:
853:
752:17, no. 3 (2015): 173–97.
465:: 1/43 part of an octave
262:. He was a professor of
822:Architectural acoustics
294:, reader to the son of
196:more precise citations.
1217:French music theorists
909:Fletcher–Munson curves
904:Equal-loudness contour
814:Acoustical engineering
750:Physics in Perspective
354:
1045:Hermann von Helmholtz
943:Fundamental frequency
847:Sympathetic resonance
345:
247:French pronunciation:
771:at Wikimedia Commons
723:by Manuel Op de Coul
251:[ʒozɛfsovœʁ]
84:improve this article
1065:Werner Meyer-Eppler
975:Missing fundamental
302:, preceptor to the
948:Frequency spectrum
625:. Springer. p.10.
355:
352:Guillaume Le Blond
1197:French physicists
1159:
1158:
1121:Musical acoustics
953:harmonic spectrum
767:Media related to
653:Richard Semmens,
631:978-0-387-98435-3
390:le son acoustique
379:Collège de France
240:
239:
232:
222:
221:
214:
160:
159:
152:
134:
57:
1239:
1149:
1148:
1050:Carleen Hutchins
982:Combination tone
869:
862:
842:String vibration
799:
792:
785:
776:
766:
732:Duke of Chartres
710:Joseph Sauveur:
662:Duke of Chartres
634:
619:
487:demi-heptaméride
428:, tuning pitch,
426:vibrating string
394:Duke of Chartres
359:Duke of Chartres
253:
248:
235:
228:
217:
210:
206:
203:
197:
192:this article by
183:inline citations
170:
169:
162:
155:
148:
144:
141:
135:
133:
99:"Joseph Sauveur"
92:
68:
60:
49:
27:
26:
19:
1247:
1246:
1242:
1241:
1240:
1238:
1237:
1236:
1162:
1161:
1160:
1155:
1137:
1089:
1080:D. Van Holliday
1018:
987:Mersenne's laws
921:Audio frequency
915:
879:Psychoacoustics
873:
872:
865:
851:
808:
803:
759:
643:
638:
637:
620:
616:
611:
598:Mersenne's laws
589:
558:Nouveau Sistème
442:Mersenne's laws
331:, working with
325:"Grand Condé's"
312:Eugene of Savoy
276:
246:
236:
225:
224:
223:
218:
207:
201:
198:
188:Please help to
187:
171:
167:
156:
145:
139:
136:
93:
91:
81:
69:
28:
24:
17:
12:
11:
5:
1245:
1243:
1235:
1234:
1229:
1224:
1219:
1214:
1209:
1204:
1199:
1194:
1189:
1184:
1179:
1174:
1164:
1163:
1157:
1156:
1154:
1153:
1142:
1139:
1138:
1136:
1135:
1134:
1133:
1128:
1118:
1113:
1108:
1103:
1097:
1095:
1094:Related topics
1091:
1090:
1088:
1087:
1082:
1077:
1075:Joseph Sauveur
1072:
1067:
1062:
1060:Marin Mersenne
1057:
1052:
1047:
1042:
1037:
1032:
1026:
1024:
1020:
1019:
1017:
1016:
1011:
1010:
1009:
999:
994:
989:
984:
979:
978:
977:
972:
967:
957:
956:
955:
945:
940:
935:
929:
927:
917:
916:
914:
913:
912:
911:
901:
900:
899:
894:
883:
881:
875:
874:
871:
870:
863:
855:
854:
852:
850:
849:
844:
839:
834:
829:
824:
818:
816:
810:
809:
804:
802:
801:
794:
787:
779:
773:
772:
769:Joseph Sauveur
758:
757:External links
755:
754:
753:
746:
739:
736:Étienne Loulié
724:
718:
715:
708:
698:
695:Étienne Loulié
688:
685:Étienne Loulié
678:
675:Étienne Loulié
671:Procès verbaux
667:
664:
658:
651:
648:Étienne Loulié
642:
639:
636:
635:
613:
612:
610:
607:
606:
605:
600:
595:
588:
585:
513:
512:
511:
510:
503:
494:
484:
466:
446:acoustic beats
438:Marin Mersenne
371:Étienne Loulié
275:
272:
243:Joseph Sauveur
238:
237:
220:
219:
174:
172:
165:
158:
157:
72:
70:
63:
58:
32:
31:
29:
22:
15:
13:
10:
9:
6:
4:
3:
2:
1244:
1233:
1230:
1228:
1225:
1223:
1220:
1218:
1215:
1213:
1210:
1208:
1205:
1203:
1200:
1198:
1195:
1193:
1190:
1188:
1185:
1183:
1180:
1178:
1175:
1173:
1170:
1169:
1167:
1152:
1144:
1143:
1140:
1132:
1129:
1127:
1124:
1123:
1122:
1119:
1117:
1114:
1112:
1109:
1107:
1104:
1102:
1099:
1098:
1096:
1092:
1086:
1083:
1081:
1078:
1076:
1073:
1071:
1070:Lord Rayleigh
1068:
1066:
1063:
1061:
1058:
1056:
1053:
1051:
1048:
1046:
1043:
1041:
1040:Ernst Chladni
1038:
1036:
1033:
1031:
1028:
1027:
1025:
1021:
1015:
1012:
1008:
1005:
1004:
1003:
1002:Standing wave
1000:
998:
995:
993:
990:
988:
985:
983:
980:
976:
973:
971:
970:Inharmonicity
968:
966:
963:
962:
961:
958:
954:
951:
950:
949:
946:
944:
941:
939:
936:
934:
931:
930:
928:
926:
922:
918:
910:
907:
906:
905:
902:
898:
895:
893:
890:
889:
888:
885:
884:
882:
880:
876:
868:
864:
861:
857:
856:
848:
845:
843:
840:
838:
837:Soundproofing
835:
833:
832:Reverberation
830:
828:
825:
823:
820:
819:
817:
815:
811:
807:
800:
795:
793:
788:
786:
781:
780:
777:
770:
765:
761:
760:
756:
751:
747:
744:
740:
738:on acoustics)
737:
733:
729:
725:
722:
719:
716:
713:
709:
706:
702:
699:
696:
692:
689:
686:
682:
679:
676:
672:
668:
665:
663:
659:
656:
652:
649:
645:
644:
640:
632:
628:
624:
618:
615:
608:
604:
603:Sauveur pitch
601:
599:
596:
594:
591:
590:
586:
584:
581:
579:
575:
571:
567:
566:"chronomètre"
561:
559:
555:
551:
547:
543:
539:
535:
531:
527:
523:
519:
508:
504:
502:
498:
495:
492:
488:
485:
482:
478:
474:
470:
467:
464:
461:
460:
459:
458:
457:
455:
451:
447:
443:
439:
435:
431:
427:
423:
419:
415:
411:
406:
404:
400:
395:
391:
387:
382:
380:
376:
372:
368:
367:siege of Mons
364:
360:
353:
349:
346:Frontpage of
344:
340:
338:
334:
333:Edmé Mariotte
330:
326:
321:
319:
318:
313:
309:
305:
301:
297:
293:
289:
285:
281:
273:
271:
269:
265:
261:
257:
256:mathematician
252:
244:
234:
231:
216:
213:
205:
195:
191:
185:
184:
178:
173:
164:
163:
154:
151:
143:
132:
129:
125:
122:
118:
115:
111:
108:
104:
101: –
100:
96:
95:Find sources:
89:
85:
79:
78:
73:This article
71:
67:
62:
61:
56:
54:
47:
46:
41:
40:
35:
30:
21:
20:
1172:Acousticians
1085:Thomas Young
1074:
1035:Jens Blauert
1023:Acousticians
749:
742:
727:
711:
704:
690:
680:
670:
654:
622:
617:
593:Magic square
582:
577:
573:
569:
565:
562:
557:
553:
549:
545:
541:
537:
533:
529:
525:
521:
517:
514:
500:
496:
490:
486:
476:
472:
468:
462:
420:and musical
413:
407:
402:
389:
383:
374:
356:
347:
337:hydrostatics
322:
315:
277:
242:
241:
226:
208:
199:
180:
146:
137:
127:
120:
113:
106:
94:
82:Please help
77:verification
74:
50:
43:
37:
36:Please help
33:
1212:1716 deaths
1207:1653 births
1055:Franz Melde
1030:John Backus
1014:Subharmonic
867:Spectrogram
473:heptaméride
456:divisions:
454:logarithmic
264:mathematics
194:introducing
1166:Categories
1116:Ultrasound
1106:Infrasound
892:Bark scale
728:Recherches
701:Fontenelle
641:References
501:eptaméride
497:decaméride
491:eptaméride
469:eptaméride
450:metronomes
414:acoustique
327:estate at
177:references
110:newspapers
39:improve it
997:Resonance
897:Mel scale
827:Monochord
806:Acoustics
578:sonomètre
574:monocorde
570:échomètre
436:. Though
430:harmonics
418:frequency
410:acoustics
403:échomètre
399:monochord
386:acoustics
329:Chantilly
296:Louis XIV
280:La Flèche
260:physicist
45:talk page
1151:Category
992:Overtone
960:Harmonic
587:See also
375:Éléments
308:Dauphine
292:Cordemoy
202:May 2013
140:May 2013
938:Formant
304:Dauphin
300:Bossuet
190:improve
124:scholar
1131:Violin
965:Series
629:
481:savart
477:méride
463:méride
434:octave
401:, and
363:Vauban
317:basset
288:Euclid
284:Jesuit
179:, but
126:
119:
112:
105:
97:
1126:Piano
1111:Sound
925:pitch
887:Pitch
609:Notes
507:comma
422:pitch
131:JSTOR
117:books
1101:Echo
1007:Node
933:Beat
923:and
627:ISBN
471:(or
448:and
274:Life
258:and
103:news
554:sol
320:."
86:by
1168::
552:,
550:fa
548:,
546:mi
544:,
542:re
540:,
538:ut
534:bo
532:,
530:so
528:,
526:ga
524:,
522:ra
520:,
518:pa
509:".
339:.
270:.
48:.
798:e
791:t
784:v
697:)
687:)
677:)
650:)
633:.
493:.
483:.
245:(
233:)
227:(
215:)
209:(
204:)
200:(
186:.
153:)
147:(
142:)
138:(
128:·
121:·
114:·
107:·
80:.
55:)
51:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
