Editing Equal temperament (section)

==== Europe ====
Some of the first Europeans to advocate equal temperament were lutenists [[Vincenzo Galilei]], [[Giacomo Gorzanis]], and [[Francesco Spinacino]], all of whom wrote music in it.<ref>
{{cite book
 |last=Galilei |first=V.  |author-link=Vincenso Galilei
 |year=1584
 |title=Il Fronimo ... Dialogo sopra l'arte del bene intavolare |lang=it
 |trans-title=The Fronimo ... Dialogue on the art of a good beginning
 |publisher=[[Girolamo Scotto]]
 |place=Venice, IT
 |pages=80–89
}}
</ref><ref>
{{cite web
 |title=Resound – corruption of music
 |website=Philresound.co.uk
 |url=http://www.philresound.co.uk/page4.htm
 |access-date=2012-03-20 |url-status=dead
 |archive-url=https://web.archive.org/web/20120324234829/http://www.philresound.co.uk/page4.htm
 |archive-date=2012-03-24
}}
</ref><ref>
{{cite book
 |first=Giacomo |last=Gorzanis
 |year=1982 |orig-year={{circa|1525~1575}}
 |title=Intabolatura di liuto |lang=it
 |trans-title=Lute tabulation |edition=reprint
 |place=Geneva, CH |publisher=Minkoff 
}}
</ref><ref>
{{cite web
 |title=Spinacino 1507a: Thematic Index
 |publisher=Appalachian State University
 |url=http://www.sunstar.com.ph/cebu/business/bickering-blocking-cebu-s-progress
 |url-status=dead |access-date=2012-06-14 |df=dmy-all
 |archive-url=https://web.archive.org/web/20110725182053/http://www.library.appstate.edu/music/lute/16index/tspi07a.html
 |archive-date=2011-07-25
}}
</ref>

[[Simon Stevin]] was the first to develop 12&nbsp;{{sc|TET}} based on the [[twelfth root of two]], which he described in ''van de Spiegheling der singconst'' ({{circa|1605}}), published posthumously in 1884.<ref>
{{cite book
 |first=Simon |last=Stevin  |author-link=Simon Stevin
 |orig-date={{circa|1605}}
 |date=2009-06-30 |df=dmy-all
 |title=Van de Spiegheling der singconst
 |editor-first=Rudolf |editor-last=Rasch
 |publisher=The Diapason Press
 |url=http://diapason.xentonic.org/ttl/ttl21.html
 |via=diapason.xentonic.org  |access-date=2012-03-20 |url-status=dead
 |archive-url=https://web.archive.org/web/20110717015203/http://diapason.xentonic.org/ttl/ttl21.html
 |archive-date=2011-07-17
}}
</ref>

Plucked instrument players (lutenists and guitarists) generally favored equal temperament,<ref>
{{cite book
 |first=Mark |last=Lindley
 |title=Lutes, Viols, Temperaments
 |isbn=978-0-521-28883-5
}}
</ref> while others were more divided.<ref>
{{cite book
 |first=Andreas |last=Werckmeister |author-link=Andreas Werckmeister 
 |year=1707
 |title=Musicalische paradoxal-Discourse |lang=de
 |trans-title=Paradoxical Musical Discussion
}}
</ref> In the end, 12-tone equal temperament won out. This allowed [[enharmonic modulation]], new styles of symmetrical tonality and [[polytonality]], [[atonality|atonal music]] such as that written with the [[Twelve-tone technique|12-tone technique]] or [[serialism]], and [[jazz]] (at least its piano component) to develop and flourish.