to be an insurmountable obstacle: the musicians who were serving as his ears and voices had become exasperated at the 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 pa, ra, ga, so, bo, and so forth that were supposed to replace the familiar ut, re, mi, fa, sol.... (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 Nouveau Sistème, 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. 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 published a description of a metronome-like instrument called the "chronomètre", 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 échomètre: 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 monocorde 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 sonomètre, approved by the Academy in 1699, which replicated the unequal intervals actually being used in France. 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. See also Magic square Mersenne's laws Sauveur pitch Notes References Bibliothèque nationale de France, ms. n.a. 4674, Joseph Sauveur's "Traité de la Théorie de la Musique (1697) (his work with musician Étienne Loulié) Richard Semmens, Joseph Sauveur's "Treatise of the Theory of Music". A Study, Diplomatic Transcription and Annotated Translation, Studies in Music from the University of Western Ontario, vol. 11, 1987