Which HT?

[A440A@AOL.COM]

JOHN wrote:
<<Someone was going to give a class on HT in KC, it would be a good idea
to indicate which one to use and where?>>

Greetings, 
   I intend to do that , if Nostradamus isn't correct,and we don't end in a
ball of fire this July!  

>In fact one Prof., obviously misunderstood, as he indicated, only one
instrument >was intersted in a higher pitch.

     This sounds like the Prof was not given a very clear picture of what you
proposed.  It is very likely that he doesn't know what temperaments actually
are, ( this is not uncommon in Academia!!!), and confused your suggestion with
pitch level.   You will need to approach him with a lot more information, and
how you do that will have a lot to do with the success you have in making a
believer out of him. 
Another point is that the Prof. isn't going to be any more sure of this than
you are, so you must have some context and confidence that you know what you
are doing before you go throwing a variety of tunings around.   The use of an
inappropriate tuning, early in the exposure, can end the desire to investigate
further. 
      I favor the chronological linkage first, then you can follow what your
ears tell you.  One of the topics for the class is how to sell these
temperaments, since there are some sure-fire ways to scare the potential HT
convert away. 
    If the music is pre 1700,  a meantone is probably called for.   These are
restrictive tunings, and there are unusable intervals in them, so start with
the Aaron in the SAT book,and see if the modulations stay in bounds.  If you
are just beginning to tune for the music of 1700-1850  I would use the Young,
it is symetrical, and very even in its modulatory steps.   
    Know why you are using a temperament before you submit the concept to
critique from the uninitiated.   Key character is an acquired taste, and its
acceptance is not automatic.  

Good luck, 
Ed Foote