Foolestroupe wrote:
"There is a music cult that claims that each scale has its own 'emotion' - "

Personally, I always thought this had more to do with the instruments the tune is played on. IF you confine yourself to a "standard orchestra", then playing in different key signatures will emphasize the resonance of each instrument-type differently (I'm assuming a typical flute has a strong natural resonance in one key, and a typical violin has strong natural resonance in another key).

There is some study of psychoacoustics, and how some frequencies do interact differently with the human nervous system than others, but I suspect (speaking out of ignorance here) that for this to have maximum effect, the instrument would have to be "tuned" to the nervous system of the specific listener. One person's brain waves are probably a little bit different frequencies than another.
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As for the use of modes, to get a thorough understanding one probably ought to study a LOT of Music History because it appears the use of the word "Mode" has changed over time and with different cultures.

On the other hand, it shouldn't be THAT difficult to grasp the REALLY BASIC concept. Then if a reader/student wants, he or she can delve further. I'd hate to discourage someone's curiosity just because they don't have several semesters to study postgraduate-level comparitive musicology. This discussion has given some great hints of directions to pursue.

As for the differences in temperment, it is something of a shame that many hobbyist-level musicians rarely think that even-temperment might not be the "Only & Best" method to tune their instruments. I know it drives me bonkers when I tune strings (guitar & harp) using an electronic tuner - it never sounds right (especially the B's, when tuning in key of C). And of course tuning a guitar (fixed frets) using overtones (3:2 ratio on open strings) never sounds quite right for the fretted notes. So I always tweak by ear after using the black box to get "close" to correct. I don't worry too much about exactly WHICH temperment I'm using, but I know some changes get the instrument sounding closer to "right".

Playing harp is actually somewhat liberating. I just have to repeat the old adage "Harpers spend half their life tuning, and the other half playing out of tune" - and I realize I can stop fretting about it! [grin]