<HTML>List, There's too much to copy.  Ed Foote made my points for me regarding Stravinsky.  My point has been that 20th Century music does not *require* ET. Last year, a French pianist played a 3 hour concert of *all* of Ravel's works at Farley's House of Pianos in 1/7 Comma Meantone.  Nothing "fell apart".  Others besides me have noted the enhancement of Debussy's music in a Victorian Temperament.  I play "Gershwin Plays Gershwin" on my Pianodisc in EBVT and hear the character of the keys and enhanced musical quality during modulation, not undue roughness, strident intervals or a distinctly out of tune sound. HR draws an analogy to asparagus, a vegetable I personally happen to crave and which sells generally for a fairly steep price.  Obviously, *some* people must like it or it wouldn't be in the produce section.  Some people are also very finicky and want only the smoothest, most bland offerings.  I have noted time and again that those who insist that they only like ET desire to impose their values on everyone else, often offering blatant misconceptions to support their ideas. Instrumental ensembles do not play in temperaments as such, that's true.  BUT, the relative intensity of the various keys of the cycle of 5ths is reflected in the intensity of the *vibrato* used.  Vocalists and instrumentalists can and do vary the size of their intervals.  Cycle of 5ths based temperaments *always* make ensemble intonation easier.  It is ET that often provides an inappropriate intensity. I find Tom C's contention that "instrumentalists have complained" highly suspect.  If these instrumentalists were told that the piano was somehow tuned differently, that alone is enough of a suggestion to provide the scapegoat for a complaint.  I have also known of instances where an HT was used but the pitch was non standard.  Of course the intonation problems were blamed on the temperament, not the pitch.   I would like for David Love to produce one *single* example of any music from any period that has smooth and harmonious harmony in Ab modulating to an intense and vibrant C Major.  It doesn't happen.  Show me one single piece of 20th Century music that does *not* work in a Victorian Temperament, including Body & Soul.  Show me one single example of 20th Century music in which the key signature does *not* conform to the theory of Key Color offered by Cycle of 5ths based Tempering.  You can search the entire library but you'll never find a single example.  This goes for the so-called "Atonal" music too, not to mention polyphonic and serial music.  It all works with mild, Victorian type temperaments. William Braide White taught the premise of ET, yes and seemed to say that the only alternative was "Meantone".  He did not, however, offer enough information for most people to really tune a true ET.  I wonder if he even did himself?  His description of the Key Colors of Meantone is exactly backwards.  I wonder if Braide White, rather than being the pioneer of ET tuning was really the founder of Reverse Well? David Love's suggestion that the argument regarding Key Color begins to "fall apart" cannot be supported.  It is as if he were saying color film should never be used just in case someone might take a picture of someone with blue hair.  If we only used black and white film, we'd never know, therefore, only black and white film should ever be used to photograph everything. Bill Bremmer RPT Madison, Wisconsin</HTML>