As a former jazz musician, I always find the classical perspective on theory interesting. This article touches on Pythagorean tuning techniques, which if you ever find yourself in front of a good a cappella choir, they’ll be tuning to the true temperament tuning scheme described here. A fun comparison to make in the jazz world is enharmonic usage for the purpose of readability. Jazz chords are very dense and short lived compared to the very clean and predictable counterpoint found in classical music, so “correctness” doesn’t really matter as much. Most charts are sight read, so even though the band is sounding some flavor of a B chord, if you’re playing the 3rd, there’s a chance there may be a written E flat instead of a D sharp simply because E flat is a more commonly written note for horn players.