Citation de AlgerianTheory
"Une réalité physique vraiment stable", c'est plutôt ce que l'accord moderne tempéré a essayé d'obtenir. Résultat, on peut tout jouer (Chopin et ses nombreuses tonalité), mais tout à plus ou moins la même saveur, et tous les intervalles, dans un sens, sont faux.

Par "stabilité" je voulais dire qu'il n'y a pas de battements, d'hululation, de wowowowo quand la fondamentale et une note de sa série harmonique sont jouées ensemble, car les vibrations sont dans des rapports mathématiques très simples, des x sur y avec x et y entiers, donc les vibrations des deux notes se rencontrent aux exacts mêmes points de début et de fin de leur cycle
Sur une représentation graphique, à 0 d'amplitude (axe vertical des abscisses). Dans une gamme tempérée, ces points sont disjoints, et l'on entend un battement, un wowowo

Et cette absence de stabilité physique a même des conséquences psychologiques, ou peut-être l'évolution psychologique de nos sociétés a-t-elle entraîné cette modification des esthétiques musicales.
Absence de stabilité: on a envie naturellement de "toujours plus", dans une quête sans fin


I've had interesting experiences playing just-intonation music for non-music-major students. Sometimes they will identify an equal-tempered chord as "happy, upbeat," and the same chord in just intonation as "sad, gloomy." Of course, this is the first time they've ever heard anything but equal temperament, and they're far more familiar with the first sound than the second. But I think they correctly hit on the point that equal temperament chords do have a kind of active buzz to them, a level of harmonic excitement and intensity. By contrast, just-intonation chords are much calmer, more passive; you literally have to slow down to listen to them. (As Terry Riley says, Western music is fast because it's not in tune.) It makes sense that American teenagers would identify tranquil, purely consonant harmony as moody and depressing. Listening from the other side, I've learned to hear equal temperament music as a kind of aural caffeine, overly busy and nervous-making. If you're used to getting that kind of buzz from music, you feel the lack of it as a deprivation when it's not there. But do we need it? Most cultures use music for meditation, and ours may be the only culture that doesn't. With our tuning, we can't.

My teacher, Ben Johnston, was convinced that our tuning is responsible for much of our cultural psychology, the fact that we are so geared toward progress and action and violence and so little attuned to introspection, contentment, and acquiesence. Equal temperament could be described as the musical equivalent to eating a lot of red meat and processed sugars and watching violent action films. The music doesn't turn your attention inward, it makes you want to go out and work off your nervous energy on something.
https://www.kylegann.com/tuning.html