A Typology of Intonational Puns

I propose the following classification of _intonational puns_:

1. Homophone puns: In just intonation, where a single tone _has_ two (or
more) intonationally exact harmonic senses (vertical function), the
individual sense usually articulated in temporal sequence. In Partch's
Diamond each pitch may be taken in a minimum of two senses, and in Wilson's
Eikosany, a minimum of six senses. In Harrison's _free style_ , the number
of potential senses is unlimited.

2. Heterophone puns: where a single tone _is taken_ in two (or more)
harmonic senses. There are two subtypes: (a) where a pitch has the
intonationally exact identity of only one of the senses, and for the other
senses is close enough (critical band anyone?) to be understood (tolerated)
in the false intonation; and (b) where the pitch has the exact frequency of
neither identity, but is understood (tolerated) in both senses. (The later
case suggests temperament, but also portmanteau methods - like freshman
sums, are useful just analogs to temperament - i.e. in the place of 9/8 and
10/9, use 19/17; some slendro tunings use a third degree tempered between
ca. 9/7 and ca. 4/3, thus ca. 13/10).


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