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I attempt to describe better what it is that I do:

Each and every note for orchestra and chorus is assigned a specific intonation, such that through a major work like my Moses at the Jordan River, approximately 50-60 distinct pitches are used.   As a rapid summary example, for the note C# on a piano, the score might use a high Db, a low Db, a high C# quite distinct from the Db, a low C#, and a two-comma flat double low C#.  For the most part, however, these pitches are tuned in pure relation to fairly traditional harmonic structure and come naturally to the naive singer and to a good musician.   The special rules of Intonalism guide the composition of every melodic line such that every interval may be tuned perfectly.  This is not to imply that a normal variation in pitch and even outright mistakes during performance will spoil the work in any way, more than they would spoil any other composition.