▁compos itional ▁approaches ▁that ▁devi ated ▁from ▁traditional ▁ch ords ▁and ▁ch ord ▁progress ions . ▁Att empt s ▁to ▁solve ▁these ▁problems ▁by ▁using ▁terms ▁such ▁as ▁" pan - ton al ", ▁" non - ton al ", ▁" multi - ton al ", ▁" free - ton al " ▁and ▁" without ▁t onal ▁center " ▁instead ▁of ▁" at onal " ▁have ▁not ▁gained ▁broad ▁accept ance . ▁ ▁Crit ic ism ▁of ▁the ▁concept ▁of ▁at on ality ▁ ▁Compos er ▁Anton ▁We bern ▁held ▁that ▁" new ▁laws ▁assert ed ▁themselves ▁that ▁made ▁it ▁impossible ▁to ▁design ate ▁a ▁piece ▁as ▁being ▁in ▁one ▁key ▁or ▁another " ▁. ▁Compos er ▁Walter ▁P ist on , ▁on ▁the ▁other ▁hand , ▁said ▁that , ▁out ▁of ▁long ▁habit , ▁whenever ▁perform ers ▁" play ▁any ▁little ▁phrase ▁they ▁will ▁hear ▁it ▁in ▁some ▁key — it ▁may ▁not ▁be ▁the ▁right ▁one , ▁but ▁the ▁point ▁is ▁they ▁will ▁play ▁it ▁with ▁a ▁t onal ▁sense .   ... ▁[ T ] he ▁more ▁I ▁feel ▁I ▁know ▁Sch o enberg ' s ▁music ▁the ▁more ▁I ▁believe ▁he ▁thought ▁that ▁way ▁himself .   ... ▁And ▁it ▁isn ' t ▁only ▁the ▁players ; ▁it ' s ▁also ▁the ▁listen ers . ▁They ▁will ▁hear ▁ton ality ▁in ▁everything " ▁. ▁ ▁Donald ▁Jay ▁Gr out ▁similarly ▁doubt ed ▁whether ▁at on ality ▁is ▁really ▁possible , ▁because ▁" any ▁combination ▁of ▁sounds ▁can ▁be ▁referred