equal temperaments: why bother?

The question about why bother with equal temperaments is welcome. I'd add
that their structures, and widely differing ones at that, make a
fascinating musical--and yes, expressive--difference. Related to this, you
have true enharmonic equivalent pitches and intervals in equal
temperaments, which you may get in just systems only by fudging things
theoretically.

Then there is the practical problem in just systems of treating all notes
potentially the same way. If there is a limited number of pitches
available, say on a keyboard, then you can't. Even with infinite numbers
of pitches (not a problem in electronic media), there are certain
traditional harmonic problems which do not admit an easy solution.

Of course, there are plenty of disadvantages to equal temperaments as
well. None of which means they are superior or inferior to anything
overall. Many people work in both equal temperaments and other tunings,
for their own reasons, which maybe they will add here.

Paul Rapoport

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