. . . . . . . . . . "\u0422\u0435\u043C\u043F\u0435\u0440\u0430\u0446\u0456\u044F (\u0432\u0456\u0434 \u043B\u0430\u0442. temperatio \u2014 \u0440\u043E\u0437\u043C\u0456\u0440\u043D\u0456\u0441\u0442\u044C) \u2014 \u0432\u0438\u0440\u0456\u0432\u043D\u044E\u0432\u0430\u043D\u043D\u044F \u0432\u0438\u0441\u043E\u0442\u043D\u043E\u0433\u043E \u0441\u043F\u0456\u0432\u0432\u0456\u0434\u043D\u043E\u0448\u0435\u043D\u043D\u044F\u0441\u0442\u0443\u043F\u0435\u043D\u0456\u0432 \u0437\u0432\u0443\u043A\u043E\u0432\u043E\u0457 \u0441\u0438\u0441\u0442\u0435\u043C\u0438. \u0422\u0435\u043C\u043F\u0435\u0440\u0430\u0446\u0456\u044F \u0432\u0456\u0434\u043E\u0431\u0440\u0430\u0436\u0430\u0454 \u043F\u0435\u0440\u0435\u0431\u0456\u0433 \u0435\u0442\u0430\u043F\u0456\u0432 \u0440\u043E\u0437\u0432\u0438\u0442\u043A\u0443 \u043C\u0443\u0437\u0438\u0447\u043D\u0438\u0445 \u0441\u0442\u0440\u043E\u0457\u0432 \u2014 \u0432\u0456\u0434 \u043F\u0440\u0438\u0440\u043E\u0434\u043D\u0438\u0445 (\u0447\u0438\u0441\u0442\u043E\u0433\u043E, \u043F\u0456\u0444\u0430\u0433\u043E\u0440\u0456\u0439\u0441\u044C\u043A\u043E\u0433\u043E \u0442\u0430 \u0456\u043D.), \u0449\u043E \u0491\u0440\u0443\u043D\u0442\u0443\u044E\u0442\u044C\u0441\u044F \u043D\u0430 \u0456\u043D\u0442\u0435\u0440\u0432\u0430\u043B\u0430\u0445 \u043D\u0430\u0442\u0443\u0440\u0430\u043B\u044C\u043D\u043E\u0433\u043E \u0437\u0432\u0443\u043A\u043E\u0440\u044F\u0434\u0443, \u0434\u043E \u0448\u0442\u0443\u0447\u043D\u0438\u0445, \u0442\u0435\u043C\u043F\u0435\u0440\u043E\u0432\u0430\u043D\u0438\u0445 \u2014 \u043D\u0435\u0440\u0456\u0432\u043D\u043E\u043C\u0456\u0440\u043D\u043E\u0433\u043E \u0439 \u0440\u0456\u0432\u043D\u043E\u043C\u0456\u0440\u043D\u043E\u0433\u043E, \u0449\u043E \u0432\u0438\u043D\u0438\u043A\u043B\u0438 \u0443 \u0437\u0432'\u044F\u0437\u043A\u0443 \u0437 \u0440\u043E\u0437\u0432\u0438\u0442\u043A\u043E\u043C \u0437\u0432\u0443\u043A\u043E\u0432\u0438\u0441\u043E\u0442\u043D\u043E\u0457 \u043C\u0443\u0437\u0438\u0447\u043D\u043E\u0457 \u0441\u0438\u0441\u0442\u0435\u043C\u0438 \u0448\u043B\u044F\u0445\u043E\u043C \u043C\u0430\u0442\u0435\u043C\u0430\u0442\u0438\u0447\u043D\u043E\u0433\u043E \u043F\u043E\u0434\u0456\u043B\u0443 \u0437\u0432\u0443\u043A\u043E\u0440\u044F\u0434\u0443 \u043D\u0430 \u0440\u0456\u0432\u043D\u0456 \u0447\u0430\u0441\u0442\u0438\u043D\u0438 \u0439 \u0437\u0443\u043C\u043E\u0432\u0438\u043B\u0438 \u043F\u043E\u044F\u0432\u0443 \u043D\u043E\u0432\u0438\u0445 \u0436\u0430\u043D\u0440\u0456\u0432 \u0442\u0430 \u043C\u0443\u0437\u0438\u0447\u043D\u0438\u0445 \u0456\u043D\u0441\u0442\u0440\u0443\u043C\u0435\u043D\u0442\u0456\u0432. \n* \u0420\u0456\u0432\u043D\u043E\u043C\u0456\u0440\u043D\u0430 \u0442\u0435\u043C\u043F\u0435\u0440\u0430\u0446\u0456\u044F \u2014 \u043F\u043E\u0434\u0456\u043B \u043E\u043A\u0442\u0430\u0432\u0438 \u043D\u0430 12 \u043E\u0434\u043D\u0430\u043A\u043E\u0432\u0438\u0445 \u0432\u0456\u0434\u0440\u0456\u0437\u043A\u0456\u0432 \u2014 \u043F\u0456\u0432\u0442\u043E\u043D\u0456\u0432. \u0420\u0456\u0432\u043D\u043E\u043C\u0456\u0440\u043D\u043E \u0442\u0435\u043C\u043F\u0435\u0440\u043E\u0432\u0430\u043D\u0438\u0439 \u0441\u0442\u0440\u0456\u0439 \u0432\u0456\u0434\u0440\u0456\u0437\u043D\u044F\u0454\u0442\u044C\u0441\u044F \u0432\u0456\u0434 \u043D\u0430\u0442\u0443\u0440\u0430\u043B\u044C\u043D\u043E\u0433\u043E \u0442\u0438\u043C, \u0449\u043E \u0432\u0441\u0456 \u043F\u0456\u0432\u0442\u043E\u043D\u0438, \u044F\u043A\u0456 \u0439\u043E\u0433\u043E \u0443\u0442\u0432\u043E\u0440\u044E\u044E\u0442\u044C, \u0440\u0456\u0432\u043D\u0456. \u0423 \u0437\u0432'\u044F\u0437\u043A\u0443 \u0437 \u043D\u0435\u0434\u043E\u0441\u043A\u043E\u043D\u0430\u043B\u0456\u0441\u0442\u044E 12-\u0441\u0442\u0443\u043F\u0435\u043D\u0435\u0432\u043E\u0457 \u0422\u0435\u043C\u043F\u0435\u0440\u0430\u0446\u0456\u0457 \u0420. \u0411\u043E\u0437\u0430\u043D\u043A\u0435\u0442, \u041D. \u041C\u0435\u0440\u043A\u0430\u0442\u043E\u0440 \u0456 \u0428. \u0422\u0430\u043D\u0430\u043A\u0430 \u0437\u0430\u043F\u0440\u043E\u043F\u043E\u043D\u0443\u0432\u0430\u043B\u0438 53-\u0441\u0442\u0443\u043F\u0435\u043D\u0435\u0432\u0438\u0439 \u0441\u0442\u0440\u0456\u0439; \u041F. \u0411\u0430\u0440\u0430\u043D\u043E\u0432\u0441\u044C\u043A\u0438\u0439 \u0456 \u0404. \u042E\u0446\u0435\u0432\u0438\u0447 \u2014 21-\u0441\u0442\u0443\u043F\u0435\u043D\u0435\u0432\u0443, \u0404. \u041C\u0443\u0440\u0437\u0456\u043D \u2014 72-\u0441\u0442\u0443\u043F\u0435\u043D\u0435\u0432\u0443 \u0441\u0438\u0441\u0442\u0435\u043C\u0438 \u0442\u0435\u043C\u043F\u0435\u0440\u0430\u0446\u0456\u0457 \u0442\u043E\u0449\u043E."@uk . "Str\u00F3j muzyczny"@pl . . . . . "\uC74C\uB960\uC774\uB780 \uC74C\uC545\uC5D0\uC11C \uC4F0\uB294 \uC74C\uB192\uC774\uC758 \uC0C1\uB300\uC801 \uAD00\uACC4\uB97C \uADDC\uC815\uD55C \uAC83\uC744 \uB9D0\uD55C\uB2E4. \uD558\uB098\uC758 \uC74C\uACC4\uAC00 \uC77C\uC815\uD55C \uC74C\uB960\uB9CC\uC73C\uB85C \uADDC\uC815\uB41C\uB2E4\uACE0\uB294 \uD560 \uC218 \uC5C6\uC73C\uBA70 \uBBFC\uC871, \uC5F0\uB300, \uC545\uACE1\uC758 \uC885\uB958, \uC5F0\uC8FC\uC545\uAE30 \uB4F1\uC5D0 \uB530\uB77C \uC5EC\uB7EC \uAC00\uC9C0 \uC74C\uB960\uC774 \uC4F0\uC774\uACE0 \uC788\uB2E4."@ko . . . . . "\u97F3\u5F8B\uFF08\u304A\u3093\u308A\u3064\uFF09\u3068\u306F\u3001\u97F3\u697D\u306B\u7528\u3044\u308B\u97F3\u9AD8\u306E\u76F8\u5BFE\u7684\u306A\u95A2\u4FC2\u306E\u898F\u5B9A\u3067\u3042\u308B\u3002\u697D\u5668\u306E\u8ABF\u5F8B\u3067\u306F\u3001\u57FA\u6E96\u3068\u306A\u308B\u7279\u5B9A\u306E\u97F3\u306E\u97F3\u9AD8\u3092\u5B9A\u3081\u3001\u305D\u308C\u304B\u3089\u97F3\u5F8B\u306B\u5F93\u3063\u3066\u4ED6\u306E\u97F3\u306E\u97F3\u9AD8\u3092\u6C7A\u5B9A\u3059\u308B\u3002\u97F3\u9AD8\u306E\u95A2\u4FC2\u306F\u5468\u6CE2\u6570\u306E\u6BD4\u3067\u898F\u5B9A\u3055\u308C\u308B\u3053\u3068\u304C\u591A\u3044\u304C\u3001\u5FC5\u8981\u6761\u4EF6\u3067\u306F\u306A\u304F\u3001\u53B3\u5BC6\u306A\u6570\u5024\u306B\u3088\u3063\u3066\u898F\u5B9A\u3055\u308C\u306A\u3044\u5834\u5408\u3082\u3042\u308B\u3002 \u82F1\u8A9E\u306E\u97F3\u697D\u7528\u8A9E\u306E temperament \u306E\u8A33\u8A9E\u3068\u3057\u3066\u97F3\u5F8B\u304C\u4F7F\u308F\u308C\u308B\u5834\u5408\u304C\u3042\u308B\u304C\u5FC5\u305A\u3057\u3082\u9069\u5207\u3067\u306F\u306A\u3044\u3002\u82F1\u8A9E\u306E temperament \u3068\u306F\u3001\u5E73\u5747\u5F8B (Equal temperament) \u3084\u3001\u4E2D\u5168\u97F3\u5F8B (Meantone temperament) \u306A\u3069\u97F3\u7A0B\u306E\u5927\u304D\u3055\u3092\u7D14\u6B63\u97F3\u7A0B\u304B\u3089\u305A\u3089\u3059\u8ABF\u6574\u3092\u65BD\u3057\u305F\u97F3\u5F8B\u3092\u6307\u3059\u7528\u8A9E\u3067\u3042\u308B\u3002\u3057\u305F\u304C\u3063\u3066\u7D14\u6B63\u97F3\u7A0B\u306B\u57FA\u3065\u304F\u97F3\u5F8B\u3067\u3042\u308B\u7D14\u6B63\u5F8B (Just intonation) \u3084\u30D4\u30BF\u30B4\u30E9\u30B9\u97F3\u5F8B (Pythagorean tuning) \u306F temperament \u306B\u8A72\u5F53\u3057\u306A\u3044\u3002"@ja . "\u0422\u0435\u043C\u043F\u0435\u0440\u0430\u0446\u0456\u044F (\u0432\u0456\u0434 \u043B\u0430\u0442. temperatio \u2014 \u0440\u043E\u0437\u043C\u0456\u0440\u043D\u0456\u0441\u0442\u044C) \u2014 \u0432\u0438\u0440\u0456\u0432\u043D\u044E\u0432\u0430\u043D\u043D\u044F \u0432\u0438\u0441\u043E\u0442\u043D\u043E\u0433\u043E \u0441\u043F\u0456\u0432\u0432\u0456\u0434\u043D\u043E\u0448\u0435\u043D\u043D\u044F\u0441\u0442\u0443\u043F\u0435\u043D\u0456\u0432 \u0437\u0432\u0443\u043A\u043E\u0432\u043E\u0457 \u0441\u0438\u0441\u0442\u0435\u043C\u0438. \u0422\u0435\u043C\u043F\u0435\u0440\u0430\u0446\u0456\u044F \u0432\u0456\u0434\u043E\u0431\u0440\u0430\u0436\u0430\u0454 \u043F\u0435\u0440\u0435\u0431\u0456\u0433 \u0435\u0442\u0430\u043F\u0456\u0432 \u0440\u043E\u0437\u0432\u0438\u0442\u043A\u0443 \u043C\u0443\u0437\u0438\u0447\u043D\u0438\u0445 \u0441\u0442\u0440\u043E\u0457\u0432 \u2014 \u0432\u0456\u0434 \u043F\u0440\u0438\u0440\u043E\u0434\u043D\u0438\u0445 (\u0447\u0438\u0441\u0442\u043E\u0433\u043E, \u043F\u0456\u0444\u0430\u0433\u043E\u0440\u0456\u0439\u0441\u044C\u043A\u043E\u0433\u043E \u0442\u0430 \u0456\u043D.), \u0449\u043E \u0491\u0440\u0443\u043D\u0442\u0443\u044E\u0442\u044C\u0441\u044F \u043D\u0430 \u0456\u043D\u0442\u0435\u0440\u0432\u0430\u043B\u0430\u0445 \u043D\u0430\u0442\u0443\u0440\u0430\u043B\u044C\u043D\u043E\u0433\u043E \u0437\u0432\u0443\u043A\u043E\u0440\u044F\u0434\u0443, \u0434\u043E \u0448\u0442\u0443\u0447\u043D\u0438\u0445, \u0442\u0435\u043C\u043F\u0435\u0440\u043E\u0432\u0430\u043D\u0438\u0445 \u2014 \u043D\u0435\u0440\u0456\u0432\u043D\u043E\u043C\u0456\u0440\u043D\u043E\u0433\u043E \u0439 \u0440\u0456\u0432\u043D\u043E\u043C\u0456\u0440\u043D\u043E\u0433\u043E, \u0449\u043E \u0432\u0438\u043D\u0438\u043A\u043B\u0438 \u0443 \u0437\u0432'\u044F\u0437\u043A\u0443 \u0437 \u0440\u043E\u0437\u0432\u0438\u0442\u043A\u043E\u043C \u0437\u0432\u0443\u043A\u043E\u0432\u0438\u0441\u043E\u0442\u043D\u043E\u0457 \u043C\u0443\u0437\u0438\u0447\u043D\u043E\u0457 \u0441\u0438\u0441\u0442\u0435\u043C\u0438 \u0448\u043B\u044F\u0445\u043E\u043C \u043C\u0430\u0442\u0435\u043C\u0430\u0442\u0438\u0447\u043D\u043E\u0433\u043E \u043F\u043E\u0434\u0456\u043B\u0443 \u0437\u0432\u0443\u043A\u043E\u0440\u044F\u0434\u0443 \u043D\u0430 \u0440\u0456\u0432\u043D\u0456 \u0447\u0430\u0441\u0442\u0438\u043D\u0438 \u0439 \u0437\u0443\u043C\u043E\u0432\u0438\u043B\u0438 \u043F\u043E\u044F\u0432\u0443 \u043D\u043E\u0432\u0438\u0445 \u0436\u0430\u043D\u0440\u0456\u0432 \u0442\u0430 \u043C\u0443\u0437\u0438\u0447\u043D\u0438\u0445 \u0456\u043D\u0441\u0442\u0440\u0443\u043C\u0435\u043D\u0442\u0456\u0432."@uk . . . . . . . . . . . . "Temperamento musical \u00E9 um esquema para dividir ou temperar a oitava. Ao longo dos tempos, foram propostos mais de 100 sistemas. Desses, n\u00E3o mais de 20 ter\u00E3o sido realmente usados com mais generalidade. Os v\u00E1rios sistemas ecoam os v\u00E1rios estilos e gostos musicais das suas \u00E9pocas. E estes, por sua vez, tamb\u00E9m influenciaram os tipos de afina\u00E7\u00F5es adoptado."@pt . . "Temperamento musical"@pt . . . . . . . . "\u0422\u0435\u043C\u043F\u0435\u0440\u0430\u0301\u0446\u0438\u044F (\u043E\u0442 \u043B\u0430\u0442. temperatio \u00AB\u0441\u043E\u0440\u0430\u0437\u043C\u0435\u0440\u043D\u043E\u0441\u0442\u044C, \u043F\u0440\u0430\u0432\u0438\u043B\u044C\u043D\u043E\u0435 \u0441\u043E\u043E\u0442\u043D\u043E\u0448\u0435\u043D\u0438\u0435; \u043D\u0430\u0434\u043B\u0435\u0436\u0430\u0449\u0430\u044F \u043E\u0440\u0433\u0430\u043D\u0438\u0437\u0430\u0446\u0438\u044F\u00BB) \u2014 \u043D\u0435\u0431\u043E\u043B\u044C\u0448\u043E\u0435 \u0438\u0437\u043C\u0435\u043D\u0435\u043D\u0438\u0435 (\u0441\u0443\u0436\u0435\u043D\u0438\u0435 \u0438\u043B\u0438 \u0440\u0430\u0441\u0448\u0438\u0440\u0435\u043D\u0438\u0435) \u043D\u0435\u043A\u043E\u0442\u043E\u0440\u044B\u0445 \u0438\u043D\u0442\u0435\u0440\u0432\u0430\u043B\u043E\u0432 \u043C\u0443\u0437\u044B\u043A\u0430\u043B\u044C\u043D\u043E\u0433\u043E \u0441\u0442\u0440\u043E\u044F, \u043E\u0442\u043A\u043B\u043E\u043D\u044F\u044E\u0449\u0435\u0435 \u0438\u0445 \u043E\u0442 \u0430\u043A\u0443\u0441\u0442\u0438\u0447\u0435\u0441\u043A\u0438 \u0447\u0438\u0441\u0442\u044B\u0445 \u0438\u043D\u0442\u0435\u0440\u0432\u0430\u043B\u043E\u0432. \u041F\u0440\u043E\u0438\u0437\u0432\u043E\u0434\u0438\u0442\u0441\u044F \u0434\u043B\u044F \u0440\u0430\u0441\u0448\u0438\u0440\u0435\u043D\u0438\u044F \u0432\u043E\u0437\u043C\u043E\u0436\u043D\u043E\u0441\u0442\u0435\u0439 \u043C\u0443\u0437\u044B\u043A\u0430\u043B\u044C\u043D\u044B\u0445 \u0438\u043D\u0441\u0442\u0440\u0443\u043C\u0435\u043D\u0442\u043E\u0432 \u0441 \u0444\u0438\u043A\u0441\u0438\u0440\u043E\u0432\u0430\u043D\u043D\u044B\u043C \u0441\u0442\u0440\u043E\u0435\u043C; \u0433\u043B\u0430\u0432\u043D\u044B\u043C \u043E\u0431\u0440\u0430\u0437\u043E\u043C, \u0434\u043B\u044F \u043E\u0431\u0435\u0441\u043F\u0435\u0447\u0435\u043D\u0438\u044F \u0442\u0440\u0430\u043D\u0441\u043F\u043E\u0437\u0438\u0446\u0438\u0438 (\u0432 \u0442\u043E\u043C \u0447\u0438\u0441\u043B\u0435, \u0434\u043B\u044F \u0431\u043E\u043B\u044C\u0448\u0435\u0433\u043E \u0430\u043A\u0443\u0441\u0442\u0438\u0447\u0435\u0441\u043A\u043E\u0433\u043E \u0431\u043B\u0430\u0433\u043E\u0437\u0432\u0443\u0447\u0438\u044F \u0430\u043D\u0441\u0430\u043C\u0431\u043B\u0435\u0432\u043E\u0439 \u0438\u0433\u0440\u044B) \u0438 \u043C\u043E\u0434\u0443\u043B\u044F\u0446\u0438\u0438 (\u043A\u0430\u043A \u0441\u0440\u0435\u0434\u0441\u0442\u0432\u0430 \u0440\u0430\u0437\u0432\u0451\u0440\u0442\u044B\u0432\u0430\u043D\u0438\u044F \u0442\u043E\u043D\u0430\u043B\u044C\u043D\u043E\u0433\u043E \u043B\u0430\u0434\u0430). \u0422\u0435\u043C\u043F\u0435\u0440\u0430\u0446\u0438\u0435\u0439 \u0442\u0430\u043A\u0436\u0435 \u043D\u0430\u0437\u044B\u0432\u0430\u0435\u0442\u0441\u044F \u0442\u0435\u043C\u043F\u0435\u0440\u0438\u0440\u043E\u0432\u0430\u043D\u043D\u044B\u0439 (\u0442\u043E \u0435\u0441\u0442\u044C \u043F\u043E\u043B\u0443\u0447\u0435\u043D\u043D\u044B\u0439 \u0432 \u0440\u0435\u0437\u0443\u043B\u044C\u0442\u0430\u0442\u0435 \u0442\u0435\u043C\u043F\u0435\u0440\u0430\u0446\u0438\u0438) \u0441\u0442\u0440\u043E\u0439."@ru . "C\u00F3ras chun ionstraim\u00ED m\u00E9archl\u00E1ir is t\u00E9adionstraim\u00ED le cip\u00EDn\u00ED m\u00E9ire a thi\u00FAnadh, ina nd\u00E9antar cuid d'idirch\u00E9imeanna \u00EDona na tuine cirte a r\u00E9iteach rud beag s\u00EDos n\u00F3 suas chun sc\u00E1la comhr\u00E9itithe a chruth\u00FA. Th\u00E1inig s\u00ED chun cinn sa 19\u00FA c\u00E9ad, agus t\u00E1 12 leath-thon san ochtach ann (an t-aon idirch\u00E9im \u00EDon sa ch\u00F3ras seo). Rinne na c\u00F3rais thi\u00FAnta a bh\u00EDodh ann roimhe sin comhgh\u00E9illte \u00E9ags\u00FAla maidir le h\u00EDonacht na n-idirch\u00E9imeanna, \u00E9ags\u00FAlacht an ghl\u00E9is is sol\u00FAbthacht an mhodhnaithe."@ga . . . . . "In musica, con temperamento si intende un sistema proposto per ridurre le differenze che risaltano fra gli intervalli principali, allorch\u00E9 si muta la tonalit\u00E0 o il grado al quale ci si riferisce. Diversi schemi di alterazione di questo tipo sono stati introdotti nella musica europea a partire dal tardo Medioevo, al fine di ottenere una scala musicale pi\u00F9 adatta alle esigenze della composizione. Per estensione, sono detti temperamenti le scale musicali risultanti da queste alterazioni. La questione del temperamento \u00E8 sempre stata al centro dell'interesse dei teorici musicali e spesso \u00E8 stata motivo di accesi dibattiti."@it . . . . . . . . . . . . . . "\u0422\u0435\u043C\u043F\u0435\u0440\u0430\u0446\u0456\u044F"@uk . . . . . . "\u6A02\u5F8B\u5B78\uFF08\u82F1\u8A9E\uFF1AMusical temperament\uFF09\u97F3\u4E50\u5B66\u7684\u91CD\u8981\u7EC4\u6210\u90E8\u5206\uFF0C\u7814\u7A76\u6A02\u5F8B\u4EA7\u751F\uFF0C\u5B9A\u91CF\uFF0C\u6D4B\u91CF\uFF0C\u6570\u5B66\u8868\u8FBE\u53CA\u76F8\u5173\u81EA\u7136\u5C5E\u6027\u7684\u4EA4\u53C9\u5B66\u79D1\u3002\u4EE5\u5B57\u7FA9\u4F86\u8AAA\uFF0C\u897F\u65B9\u6240\u8B02\u7684\u300C\u5F8B\u5B78\u300D\uFF08temperament\uFF09\u5176\u5BE6\u662F\u70BA\u4E86\u89E3\u6C7A\u6240\u7522\u751F\u7684\u4E0D\u548C\u8AE7\u516B\u5EA6\u6240\u7522\u751F\u7684\u300C\u8ABF\u6574\u300D\uFF0C\u672C\u8EAB\u4E26\u6C92\u6709\u300C\u898F\u5F8B\u300D\u7684\u610F\u7FA9\u3002"@zh . "El temperament \u00E9s un sistema d'afinaci\u00F3 constru\u00EFt per l'alteraci\u00F3 d'una . En la m\u00FAsica, els sistemes d'afinaci\u00F3 estan destinats als instruments de sons fixes, \u00E9s a dir, a la majoria d'instruments."@ca . . . . . . . . . . . . . . . . . . . . . . . "Temperamento (musica)"@it . . . "R\u00E9iteacht"@ga . . . . . . "In musical tuning, a temperament is a tuning system that slightly compromises the pure intervals of just intonation to meet other requirements. Most modern Western musical instruments are tuned in the equal temperament system. Tempering is the process of altering the size of an interval by making it narrower or wider than pure. \"Any plan that describes the adjustments to the sizes of some or all of the twelve fifth intervals in the circle of fifths so that they accommodate pure octaves and produce certain sizes of major thirds is called a temperament.\" Temperament is especially important for keyboard instruments, which typically allow a player to play only the pitches assigned to the various keys, and lack any way to alter pitch of a note in performance. Historically, the use of just intonation, Pythagorean tuning and meantone temperament meant that such instruments could sound \"in tune\" in one key, or some keys, but would then have more dissonance in other keys. In the words of William Hubbard's Musical Dictionary (1908), an anomalous chord is a \"chord containing an interval\" that \"has been made very sharp or flat in tempering the scale for instruments of fixed pitches\". The development of well temperament allowed fixed-pitch instruments to play reasonably well in all of the keys. The famous Well-Tempered Clavier by Johann Sebastian Bach takes full advantage of this breakthrough, with pieces written in all 24 major and minor keys. However, while unpleasant intervals (such as the wolf interval) were avoided, the sizes of intervals were still not consistent between keys, and so each key still had its own character. This variation led in the 18th century to an increase in the use of equal temperament, in which the frequency ratio between each pair of adjacent notes on the keyboard was made equal, allowing music to be transposed between keys without changing the relationship between notes."@en . . . . . . "\uC74C\uB960"@ko . . . . . . . . "\u0422\u0435\u043C\u043F\u0435\u0440\u0430\u0301\u0446\u0438\u044F (\u043E\u0442 \u043B\u0430\u0442. temperatio \u00AB\u0441\u043E\u0440\u0430\u0437\u043C\u0435\u0440\u043D\u043E\u0441\u0442\u044C, \u043F\u0440\u0430\u0432\u0438\u043B\u044C\u043D\u043E\u0435 \u0441\u043E\u043E\u0442\u043D\u043E\u0448\u0435\u043D\u0438\u0435; \u043D\u0430\u0434\u043B\u0435\u0436\u0430\u0449\u0430\u044F \u043E\u0440\u0433\u0430\u043D\u0438\u0437\u0430\u0446\u0438\u044F\u00BB) \u2014 \u043D\u0435\u0431\u043E\u043B\u044C\u0448\u043E\u0435 \u0438\u0437\u043C\u0435\u043D\u0435\u043D\u0438\u0435 (\u0441\u0443\u0436\u0435\u043D\u0438\u0435 \u0438\u043B\u0438 \u0440\u0430\u0441\u0448\u0438\u0440\u0435\u043D\u0438\u0435) \u043D\u0435\u043A\u043E\u0442\u043E\u0440\u044B\u0445 \u0438\u043D\u0442\u0435\u0440\u0432\u0430\u043B\u043E\u0432 \u043C\u0443\u0437\u044B\u043A\u0430\u043B\u044C\u043D\u043E\u0433\u043E \u0441\u0442\u0440\u043E\u044F, \u043E\u0442\u043A\u043B\u043E\u043D\u044F\u044E\u0449\u0435\u0435 \u0438\u0445 \u043E\u0442 \u0430\u043A\u0443\u0441\u0442\u0438\u0447\u0435\u0441\u043A\u0438 \u0447\u0438\u0441\u0442\u044B\u0445 \u0438\u043D\u0442\u0435\u0440\u0432\u0430\u043B\u043E\u0432. \u041F\u0440\u043E\u0438\u0437\u0432\u043E\u0434\u0438\u0442\u0441\u044F \u0434\u043B\u044F \u0440\u0430\u0441\u0448\u0438\u0440\u0435\u043D\u0438\u044F \u0432\u043E\u0437\u043C\u043E\u0436\u043D\u043E\u0441\u0442\u0435\u0439 \u043C\u0443\u0437\u044B\u043A\u0430\u043B\u044C\u043D\u044B\u0445 \u0438\u043D\u0441\u0442\u0440\u0443\u043C\u0435\u043D\u0442\u043E\u0432 \u0441 \u0444\u0438\u043A\u0441\u0438\u0440\u043E\u0432\u0430\u043D\u043D\u044B\u043C \u0441\u0442\u0440\u043E\u0435\u043C; \u0433\u043B\u0430\u0432\u043D\u044B\u043C \u043E\u0431\u0440\u0430\u0437\u043E\u043C, \u0434\u043B\u044F \u043E\u0431\u0435\u0441\u043F\u0435\u0447\u0435\u043D\u0438\u044F \u0442\u0440\u0430\u043D\u0441\u043F\u043E\u0437\u0438\u0446\u0438\u0438 (\u0432 \u0442\u043E\u043C \u0447\u0438\u0441\u043B\u0435, \u0434\u043B\u044F \u0431\u043E\u043B\u044C\u0448\u0435\u0433\u043E \u0430\u043A\u0443\u0441\u0442\u0438\u0447\u0435\u0441\u043A\u043E\u0433\u043E \u0431\u043B\u0430\u0433\u043E\u0437\u0432\u0443\u0447\u0438\u044F \u0430\u043D\u0441\u0430\u043C\u0431\u043B\u0435\u0432\u043E\u0439 \u0438\u0433\u0440\u044B) \u0438 \u043C\u043E\u0434\u0443\u043B\u044F\u0446\u0438\u0438 (\u043A\u0430\u043A \u0441\u0440\u0435\u0434\u0441\u0442\u0432\u0430 \u0440\u0430\u0437\u0432\u0451\u0440\u0442\u044B\u0432\u0430\u043D\u0438\u044F \u0442\u043E\u043D\u0430\u043B\u044C\u043D\u043E\u0433\u043E \u043B\u0430\u0434\u0430). \u0422\u0435\u043C\u043F\u0435\u0440\u0430\u0446\u0438\u0435\u0439 \u0442\u0430\u043A\u0436\u0435 \u043D\u0430\u0437\u044B\u0432\u0430\u0435\u0442\u0441\u044F \u0442\u0435\u043C\u043F\u0435\u0440\u0438\u0440\u043E\u0432\u0430\u043D\u043D\u044B\u0439 (\u0442\u043E \u0435\u0441\u0442\u044C \u043F\u043E\u043B\u0443\u0447\u0435\u043D\u043D\u044B\u0439 \u0432 \u0440\u0435\u0437\u0443\u043B\u044C\u0442\u0430\u0442\u0435 \u0442\u0435\u043C\u043F\u0435\u0440\u0430\u0446\u0438\u0438) \u0441\u0442\u0440\u043E\u0439."@ru . "In musical tuning, a temperament is a tuning system that slightly compromises the pure intervals of just intonation to meet other requirements. Most modern Western musical instruments are tuned in the equal temperament system. Tempering is the process of altering the size of an interval by making it narrower or wider than pure. \"Any plan that describes the adjustments to the sizes of some or all of the twelve fifth intervals in the circle of fifths so that they accommodate pure octaves and produce certain sizes of major thirds is called a temperament.\" Temperament is especially important for keyboard instruments, which typically allow a player to play only the pitches assigned to the various keys, and lack any way to alter pitch of a note in performance. Historically, the use of just inton"@en . "C\u00F3ras chun ionstraim\u00ED m\u00E9archl\u00E1ir is t\u00E9adionstraim\u00ED le cip\u00EDn\u00ED m\u00E9ire a thi\u00FAnadh, ina nd\u00E9antar cuid d'idirch\u00E9imeanna \u00EDona na tuine cirte a r\u00E9iteach rud beag s\u00EDos n\u00F3 suas chun sc\u00E1la comhr\u00E9itithe a chruth\u00FA. Th\u00E1inig s\u00ED chun cinn sa 19\u00FA c\u00E9ad, agus t\u00E1 12 leath-thon san ochtach ann (an t-aon idirch\u00E9im \u00EDon sa ch\u00F3ras seo). Rinne na c\u00F3rais thi\u00FAnta a bh\u00EDodh ann roimhe sin comhgh\u00E9illte \u00E9ags\u00FAla maidir le h\u00EDonacht na n-idirch\u00E9imeanna, \u00E9ags\u00FAlacht an ghl\u00E9is is sol\u00FAbthacht an mhodhnaithe."@ga . . . . . . . . . . . "Str\u00F3j muzyczny \u2013 system porz\u0105dkowania d\u017Awi\u0119k\u00F3w w obr\u0119bie oktawy; jego przyk\u0142adem jest str\u00F3j r\u00F3wnomiernie temperowany. Pierwotnie stosowane by\u0142y r\u00F3\u017Cne odmiany stroju naturalnego, opartego na stosunkach cz\u0119stotliwo\u015Bci alikwot\u00F3w d\u017Awi\u0119k\u00F3w. Nowsze odmiany stroju muzycznego nieco zniekszta\u0142caj\u0105 interwa\u0142y stroju naturalnego w celu spe\u0142nienia innych wymog\u00F3w systemu (np. aby umo\u017Cliwi\u0107 komponowanie we wszystkich tonacjach)."@pl . . . "Temperament (muziek)"@nl . . . . . . . . . . . "\u5F8B\u5B66"@zh . . . . . . . . . . . "Str\u00F3j muzyczny \u2013 system porz\u0105dkowania d\u017Awi\u0119k\u00F3w w obr\u0119bie oktawy; jego przyk\u0142adem jest str\u00F3j r\u00F3wnomiernie temperowany. Pierwotnie stosowane by\u0142y r\u00F3\u017Cne odmiany stroju naturalnego, opartego na stosunkach cz\u0119stotliwo\u015Bci alikwot\u00F3w d\u017Awi\u0119k\u00F3w. Nowsze odmiany stroju muzycznego nieco zniekszta\u0142caj\u0105 interwa\u0142y stroju naturalnego w celu spe\u0142nienia innych wymog\u00F3w systemu (np. aby umo\u017Cliwi\u0107 komponowanie we wszystkich tonacjach)."@pl . "\uC74C\uB960\uC774\uB780 \uC74C\uC545\uC5D0\uC11C \uC4F0\uB294 \uC74C\uB192\uC774\uC758 \uC0C1\uB300\uC801 \uAD00\uACC4\uB97C \uADDC\uC815\uD55C \uAC83\uC744 \uB9D0\uD55C\uB2E4. \uD558\uB098\uC758 \uC74C\uACC4\uAC00 \uC77C\uC815\uD55C \uC74C\uB960\uB9CC\uC73C\uB85C \uADDC\uC815\uB41C\uB2E4\uACE0\uB294 \uD560 \uC218 \uC5C6\uC73C\uBA70 \uBBFC\uC871, \uC5F0\uB300, \uC545\uACE1\uC758 \uC885\uB958, \uC5F0\uC8FC\uC545\uAE30 \uB4F1\uC5D0 \uB530\uB77C \uC5EC\uB7EC \uAC00\uC9C0 \uC74C\uB960\uC774 \uC4F0\uC774\uACE0 \uC788\uB2E4."@ko . . . . . . . . . "Temperering"@sv . . . "Tenperamentua intonazio-sistemetan, akustikoki perfektua edo justua den bitarte baten balioa zertxobait aldatzea da. Horrela aldatutako bitarteari bitarte tenperatu deritzo. Mendebaldeko musika-tresna moderno gehienak tenperamentu berdineko sisteman finduta daude. Tenperatze (edo epeltze) tarte baten tamaina aldatzeko prozesua da, purua baino estuagoa edo zabalagoa bihurtuz."@eu . "En afinaci\u00F3n, un temperamento es un sistema de afinaci\u00F3n que compromete ligeramente los intervalos puros de temperamento justo para cumplir con otros requisitos. La mayor\u00EDa de los instrumentos musicales occidentales modernos est\u00E1n afinados en el sistema de temperamento igual. El temperado (o templado) es el proceso de alterar el tama\u00F1o de un intervalo haci\u00E9ndolo m\u00E1s estrecho o m\u00E1s amplio que uno puro. \"Cualquier plan que describa los ajustes a los tama\u00F1os de algunos o todos de los doce en el c\u00EDrculo de quintas para que se adapten a las octavas puras y produzcan ciertos tama\u00F1os de tercera mayor se denomina temperamento.\u200B El temperamento es especialmente importante para los instrumentos de teclado, que normalmente permiten a un int\u00E9rprete tocar solo los tonos asignados a las diversas teclas, y carecen de cualquier forma de alterar el tono de una nota en la interpretaci\u00F3n. Hist\u00F3ricamente, el uso del temperamento justo, de la afinaci\u00F3n pitag\u00F3rica y del temperamento mesot\u00F3nico significaba que tales instrumentos pod\u00EDan sonar afinados en una tecla, o en algunas teclas, pero luego presentar\u00EDan una mayor disonancia en otras teclas. Un acorde an\u00F3malo es, un acorde que contiene un intervalo que se ha hecho muy agudo o grave con el fin de templar la escala para instrumentos de tonos fijos. Musical Dictionary (1908)\u200B El desarrollo del permiti\u00F3 que los instrumentos de tono fijo se ejecutaran razonablemente bien en todas las tonalidades. La famosa obra El clave bien temperado de Johann Sebastian Bach aprovecha al m\u00E1ximo este avance, con piezas escritas en las 24 tonalidades mayores y menores. Sin embargo, aunque se evitaron los intervalos desagradables (como la quinta del lobo), los tama\u00F1os de los intervalos a\u00FAn no eran consistentes entre las teclas, por lo que cada tecla a\u00FAn ten\u00EDa su propio car\u00E1cter. Esta variaci\u00F3n condujo en el siglo XVIII a un aumento en el uso del temperamento igual, en el que la relaci\u00F3n de frecuencia entre cada par de notas adyacentes en el teclado se igual\u00F3, lo que permiti\u00F3 que la m\u00FAsica se transpusiera entre las teclas sin necesidad de cambiar la relaci\u00F3n entre las notas."@es . . . . . "1117636581"^^ . . . . . . . "Dans la musique occidentale, un temp\u00E9rament est un proc\u00E9d\u00E9 d'accord (un accordage) des degr\u00E9s et des intervalles d'une gamme musicale. Le mot gamme d\u00E9signe le r\u00E9sultat d'un tel proc\u00E9d\u00E9 (par exemple, la gamme temp\u00E9r\u00E9e pour le temp\u00E9rament \u00E9gal) ; un usage apparent\u00E9 du mot \u00AB gamme \u00BB en fait pratiquement un synonyme d'\u00AB \u00E9chelle musicale \u00BB, c\u2019est-\u00E0-dire une succession de degr\u00E9s sans prise en compte de leur intonation exacte, mais cette acception ne sera pas consid\u00E9r\u00E9e ici. Ces premi\u00E8res d\u00E9finitions appellent des pr\u00E9cisions qui s'av\u00E8rent rapidement assez complexes."@fr . . . . . . . . . . . . . . . . . . . . . . . . . . . "El temperament \u00E9s un sistema d'afinaci\u00F3 constru\u00EFt per l'alteraci\u00F3 d'una . En la m\u00FAsica, els sistemes d'afinaci\u00F3 estan destinats als instruments de sons fixes, \u00E9s a dir, a la majoria d'instruments."@ca . "Temperamento musical"@es . . . . . . . . "6175255"^^ . . . "Dans la musique occidentale, un temp\u00E9rament est un proc\u00E9d\u00E9 d'accord (un accordage) des degr\u00E9s et des intervalles d'une gamme musicale. Le mot gamme d\u00E9signe le r\u00E9sultat d'un tel proc\u00E9d\u00E9 (par exemple, la gamme temp\u00E9r\u00E9e pour le temp\u00E9rament \u00E9gal) ; un usage apparent\u00E9 du mot \u00AB gamme \u00BB en fait pratiquement un synonyme d'\u00AB \u00E9chelle musicale \u00BB, c\u2019est-\u00E0-dire une succession de degr\u00E9s sans prise en compte de leur intonation exacte, mais cette acception ne sera pas consid\u00E9r\u00E9e ici. Ces premi\u00E8res d\u00E9finitions appellent des pr\u00E9cisions qui s'av\u00E8rent rapidement assez complexes. \n* Accordage est un terme g\u00E9n\u00E9rique, utilis\u00E9 depuis le XIXe si\u00E8cle pour d\u00E9noter l\u2019action d'accorder un instrument ou le r\u00E9sultat de cette action. \n* Accord compl\u00E9t\u00E9 par un qualificatif (essentiellement \u00AB accord pythagoricien \u00BB ou \u00AB accord juste \u00BB) est utilis\u00E9 en opposition \u00E0 \u00AB temp\u00E9rament \u00BB pour d\u00E9signer un accordage qui ne fait appel qu\u2019\u00E0 des intervalles \u00AB justes \u00BB (ou \u00AB purs \u00BB), \u00E0 l\u2019exclusion d\u2019aucun intervalle temp\u00E9r\u00E9. \n* Temp\u00E9rament se r\u00E9f\u00E8re \u00E0 un accordage dans lequel plusieurs ou tous les intervalles sont accord\u00E9s par alt\u00E9ration d'intervalles justes (ou purs) : ces intervalles alt\u00E9r\u00E9s sont dits \u00AB temp\u00E9r\u00E9s \u00BB. \n* Syst\u00E8me est utilis\u00E9 souvent, un peu improprement, pour d\u00E9noter les caract\u00E9ristiques des gammes produites par l\u2019accordage, par exemple dans les expressions \u00AB syst\u00E8me pythagoricien \u00BB, \u00AB syst\u00E8me juste \u00BB (ou \u00AB syst\u00E8me de Zarlino \u00BB), \u00AB syst\u00E8me temp\u00E9r\u00E9 \u00BB, etc. [Ces expressions devraient \u00EAtre discut\u00E9es dans un article \u00AB Syst\u00E8me musical \u00BB qui demeure \u00E0 cr\u00E9er.] Les temp\u00E9raments servent \u00E0 l\u2019accordage des instruments \u00E0 sons fixes, c\u2019est-\u00E0-dire les instruments poss\u00E9dant un dispositif vibrant s\u00E9par\u00E9 pour chaque note (instruments \u00E0 clavier, harpes, tympanons, etc.) et ceux \u00E0 frettes. Le temp\u00E9rament est rendu n\u00E9cessaire parce que chacune des notes de la gamme doit pouvoir servir dans des circonstances diverses qui requi\u00E8rent des intonations l\u00E9g\u00E8rement diff\u00E9rentes. Alors que ces petites diff\u00E9rences peuvent \u00EAtre r\u00E9alis\u00E9es sur des instruments \u00E0 degr\u00E9s mobiles (comme le violon, o\u00F9 un petit d\u00E9placement d'un doigt de la main gauche, ou les instruments \u00E0 vent, o\u00F9 une l\u00E9g\u00E8re modification de l\u2019intensit\u00E9 du souffle suffisent \u00E0 modifier l\u2019intonation), les instruments \u00E0 sons fixes requi\u00E8rent des compromis. Le mot \u00AB temp\u00E9rament \u00BB, du latin temperare, \u00AB organiser \u00BB, \u00AB mod\u00E9rer \u00BB, se r\u00E9f\u00E8re plus pr\u00E9cis\u00E9ment \u00E0 la modification d'un intervalle, g\u00E9n\u00E9ralement la diminution de la quinte, au profit d'autres intervalles. On distingue deux cat\u00E9gories g\u00E9n\u00E9rales de temp\u00E9raments : \n* les temp\u00E9raments \u00AB r\u00E9guliers \u00BB, o\u00F9 toutes les quintes sont diminu\u00E9es d'une m\u00EAme quantit\u00E9 proportionnelle ; \n* les temp\u00E9raments \u00AB irr\u00E9guliers \u00BB, o\u00F9 les quintes sont temp\u00E9r\u00E9es de diverses mani\u00E8res. Les intervalles temp\u00E9r\u00E9s ne peuvent pas \u00EAtre exprim\u00E9s sous forme de rapports de nombres entiers repr\u00E9sentant les fr\u00E9quences, aussi complexes soient-ils : ils doivent \u00EAtre repr\u00E9sent\u00E9s par des nombres irrationnels. Les autres accordages, dont les intervalles peuvent s'exprimer sous forme de rapports de nombres entiers, ne sont pas des temp\u00E9raments : on les appelle plut\u00F4t des syst\u00E8mes ou des accords (Accord pythagoricien, par exemple)."@fr . "\u6A02\u5F8B\u5B78\uFF08\u82F1\u8A9E\uFF1AMusical temperament\uFF09\u97F3\u4E50\u5B66\u7684\u91CD\u8981\u7EC4\u6210\u90E8\u5206\uFF0C\u7814\u7A76\u6A02\u5F8B\u4EA7\u751F\uFF0C\u5B9A\u91CF\uFF0C\u6D4B\u91CF\uFF0C\u6570\u5B66\u8868\u8FBE\u53CA\u76F8\u5173\u81EA\u7136\u5C5E\u6027\u7684\u4EA4\u53C9\u5B66\u79D1\u3002\u4EE5\u5B57\u7FA9\u4F86\u8AAA\uFF0C\u897F\u65B9\u6240\u8B02\u7684\u300C\u5F8B\u5B78\u300D\uFF08temperament\uFF09\u5176\u5BE6\u662F\u70BA\u4E86\u89E3\u6C7A\u6240\u7522\u751F\u7684\u4E0D\u548C\u8AE7\u516B\u5EA6\u6240\u7522\u751F\u7684\u300C\u8ABF\u6574\u300D\uFF0C\u672C\u8EAB\u4E26\u6C92\u6709\u300C\u898F\u5F8B\u300D\u7684\u610F\u7FA9\u3002"@zh . . "Temperamento musical \u00E9 um esquema para dividir ou temperar a oitava. Ao longo dos tempos, foram propostos mais de 100 sistemas. Desses, n\u00E3o mais de 20 ter\u00E3o sido realmente usados com mais generalidade. Os v\u00E1rios sistemas ecoam os v\u00E1rios estilos e gostos musicais das suas \u00E9pocas. E estes, por sua vez, tamb\u00E9m influenciaram os tipos de afina\u00E7\u00F5es adoptado."@pt . . . . . . . . . "Temperering eller tempererad st\u00E4mning \u00E4r en praxis vid st\u00E4mning av musikinstrument, d\u00E4r intonationen av en skala s\u00E4tts till fasta v\u00E4rden. Detta \u00E4r fr\u00E4mst n\u00F6dv\u00E4ndigt p\u00E5 instrument med fast intonation, exempelvis piano, orgel och bandad gitarr. Flera standarder, s\u00E5 kallade temperaturer, f\u00F6rekommer."@sv . . . . . . . . "Temperering eller tempererad st\u00E4mning \u00E4r en praxis vid st\u00E4mning av musikinstrument, d\u00E4r intonationen av en skala s\u00E4tts till fasta v\u00E4rden. Detta \u00E4r fr\u00E4mst n\u00F6dv\u00E4ndigt p\u00E5 instrument med fast intonation, exempelvis piano, orgel och bandad gitarr. Flera standarder, s\u00E5 kallade temperaturer, f\u00F6rekommer."@sv . . . . "Gammes et temp\u00E9raments dans la musique occidentale"@fr . . . . "\u0422\u0435\u043C\u043F\u0435\u0440\u0430\u0446\u0438\u044F"@ru . . . . . . . . . . "Tenperamentu (musika)"@eu . . . . . "Temperament musical"@ca . . . . "\u97F3\u5F8B\uFF08\u304A\u3093\u308A\u3064\uFF09\u3068\u306F\u3001\u97F3\u697D\u306B\u7528\u3044\u308B\u97F3\u9AD8\u306E\u76F8\u5BFE\u7684\u306A\u95A2\u4FC2\u306E\u898F\u5B9A\u3067\u3042\u308B\u3002\u697D\u5668\u306E\u8ABF\u5F8B\u3067\u306F\u3001\u57FA\u6E96\u3068\u306A\u308B\u7279\u5B9A\u306E\u97F3\u306E\u97F3\u9AD8\u3092\u5B9A\u3081\u3001\u305D\u308C\u304B\u3089\u97F3\u5F8B\u306B\u5F93\u3063\u3066\u4ED6\u306E\u97F3\u306E\u97F3\u9AD8\u3092\u6C7A\u5B9A\u3059\u308B\u3002\u97F3\u9AD8\u306E\u95A2\u4FC2\u306F\u5468\u6CE2\u6570\u306E\u6BD4\u3067\u898F\u5B9A\u3055\u308C\u308B\u3053\u3068\u304C\u591A\u3044\u304C\u3001\u5FC5\u8981\u6761\u4EF6\u3067\u306F\u306A\u304F\u3001\u53B3\u5BC6\u306A\u6570\u5024\u306B\u3088\u3063\u3066\u898F\u5B9A\u3055\u308C\u306A\u3044\u5834\u5408\u3082\u3042\u308B\u3002 \u82F1\u8A9E\u306E\u97F3\u697D\u7528\u8A9E\u306E temperament \u306E\u8A33\u8A9E\u3068\u3057\u3066\u97F3\u5F8B\u304C\u4F7F\u308F\u308C\u308B\u5834\u5408\u304C\u3042\u308B\u304C\u5FC5\u305A\u3057\u3082\u9069\u5207\u3067\u306F\u306A\u3044\u3002\u82F1\u8A9E\u306E temperament \u3068\u306F\u3001\u5E73\u5747\u5F8B (Equal temperament) \u3084\u3001\u4E2D\u5168\u97F3\u5F8B (Meantone temperament) \u306A\u3069\u97F3\u7A0B\u306E\u5927\u304D\u3055\u3092\u7D14\u6B63\u97F3\u7A0B\u304B\u3089\u305A\u3089\u3059\u8ABF\u6574\u3092\u65BD\u3057\u305F\u97F3\u5F8B\u3092\u6307\u3059\u7528\u8A9E\u3067\u3042\u308B\u3002\u3057\u305F\u304C\u3063\u3066\u7D14\u6B63\u97F3\u7A0B\u306B\u57FA\u3065\u304F\u97F3\u5F8B\u3067\u3042\u308B\u7D14\u6B63\u5F8B (Just intonation) \u3084\u30D4\u30BF\u30B4\u30E9\u30B9\u97F3\u5F8B (Pythagorean tuning) \u306F temperament \u306B\u8A72\u5F53\u3057\u306A\u3044\u3002"@ja . . . . . "\u97F3\u5F8B"@ja . . . . . . "In musica, con temperamento si intende un sistema proposto per ridurre le differenze che risaltano fra gli intervalli principali, allorch\u00E9 si muta la tonalit\u00E0 o il grado al quale ci si riferisce. Diversi schemi di alterazione di questo tipo sono stati introdotti nella musica europea a partire dal tardo Medioevo, al fine di ottenere una scala musicale pi\u00F9 adatta alle esigenze della composizione. Per estensione, sono detti temperamenti le scale musicali risultanti da queste alterazioni. La questione del temperamento \u00E8 sempre stata al centro dell'interesse dei teorici musicali e spesso \u00E8 stata motivo di accesi dibattiti."@it . . . . "Musical temperament"@en . "En afinaci\u00F3n, un temperamento es un sistema de afinaci\u00F3n que compromete ligeramente los intervalos puros de temperamento justo para cumplir con otros requisitos. La mayor\u00EDa de los instrumentos musicales occidentales modernos est\u00E1n afinados en el sistema de temperamento igual. El temperado (o templado) es el proceso de alterar el tama\u00F1o de un intervalo haci\u00E9ndolo m\u00E1s estrecho o m\u00E1s amplio que uno puro. \"Cualquier plan que describa los ajustes a los tama\u00F1os de algunos o todos de los doce en el c\u00EDrculo de quintas para que se adapten a las octavas puras y produzcan ciertos tama\u00F1os de tercera mayor se denomina temperamento.\u200B El temperamento es especialmente importante para los instrumentos de teclado, que normalmente permiten a un int\u00E9rprete tocar solo los tonos asignados a las diversas teclas"@es . . . "Tenperamentua intonazio-sistemetan, akustikoki perfektua edo justua den bitarte baten balioa zertxobait aldatzea da. Horrela aldatutako bitarteari bitarte tenperatu deritzo. Mendebaldeko musika-tresna moderno gehienak tenperamentu berdineko sisteman finduta daude. Tenperatze (edo epeltze) tarte baten tamaina aldatzeko prozesua da, purua baino estuagoa edo zabalagoa bihurtuz."@eu . . . "15743"^^ . . . .