Peter T., as I mentioned earlier the question of temperament is separable. Dorian, phrygian, etc. modes can be built up from 7 notes and their octaves: C, D, E ...B. It doesn't matter whether these frequencies are 12-equal, pythagorean, quarter-comma meantone, well-tempered (not, I think, the same as 12-equal) or any other temperament. The scale is defined by the relative positions of the tones and semitones.

The same applies to the scale G, A, B, C, D, E, F#. All the traditional scales can be defined on these notes, in any temperament, though the frequencies will differ in different temperaments.

Now, IF you work in a 12-equal system, that might create relationships among scales on different finals that might not otherwise exist. One might find, and exploit harmonically, relationships among D-dorian, E-dorian, F-dorian, and so forth, just as theorists find relationships among different major keys. There are various schools of thought, arent' there, about what are "good" and "bad" key modulations ? I don't know any reason a priori why such rules and relationships mightn't be devised for scales besides major and minor.

T.