▁of ▁tone ... ▁to ▁call ▁any ▁relation ▁of ▁t ones ▁at onal ▁is ▁just ▁as ▁far fetch ed ▁as ▁it ▁would ▁be ▁to ▁design ate ▁a ▁relation ▁of ▁colors ▁aspect ral ▁or ▁a com plement ary . ▁There ▁is ▁no ▁such ▁ant ith esis " ▁. ▁ ▁Compos er ▁and ▁the or ist ▁Mil ton ▁B abb itt ▁also ▁dispar aged ▁the ▁term , ▁saying ▁" The ▁works ▁that ▁followed , ▁many ▁of ▁them ▁now ▁familiar , ▁include ▁the ▁Five ▁Pie ces ▁for ▁Orchestra , ▁Er wart ung , ▁Pier rot ▁L una ire , ▁and ▁they ▁and ▁a ▁few ▁yet ▁to ▁follow ▁soon ▁were ▁term ed ▁' at onal ,' ▁by ▁I ▁know ▁not ▁whom , ▁and ▁I ▁prefer ▁not ▁to ▁know , ▁for ▁in ▁no ▁sense ▁does ▁the ▁term ▁make ▁sense . ▁Not ▁only ▁does ▁the ▁music ▁employ ▁' ton es ,' ▁but ▁it ▁emp lo ys ▁precisely ▁the ▁same ▁' ton es ,' ▁the ▁same ▁physical ▁materials , ▁that ▁music ▁had ▁employed ▁for ▁some ▁two ▁centuries . ▁In ▁all ▁gener os ity , ▁' at onal ' ▁may ▁have ▁been ▁intended ▁as ▁a ▁m ild ly ▁analyt ically ▁derived ▁term ▁to ▁suggest ▁' at onic ' ▁or ▁to ▁sign ify ▁' a - tri adic ▁ton ality ,' ▁but , ▁even ▁so ▁there ▁were ▁infinitely ▁many ▁things ▁the ▁music ▁was ▁not " ▁. ▁ ▁" A ton al " ▁developed ▁a ▁certain ▁v ag uen ess ▁in ▁meaning ▁as ▁a ▁result ▁of ▁its ▁use ▁to ▁describe ▁a ▁wide ▁variety ▁of