ABSTRACT
The peculiarity of modern temperament is found in the fact that the practical execution of the principle of distance is operative on our keyboard instruments as a temperament of tones gained harmonically. It is not like the so-called temperament in the tone systems of the Siamese and Javanese, merely a creation of a real distance scale rather than a harmonic scale. Beside the distance-wise measurement of the intervals is the choral and harmonic interpretation of intervals. Theoretically it dominates the orthography of notation.
