This article seeks to define tonality as an interaction between different levels of structure in terms of a conjunction of intervallic distance, polarization, modal direction, and voice leading of the harmonic progressions. Intervallic distances depend on the modal direction of transformations as well as on polarization on the circle of fifths in any hierarchy level. Voice leading creates pitch spaces that both embody and outweigh the abstract concept of tonal event according to transformational theories. This model of tonality is particularly relevant to music of the later nineteenth and earlier twentieth centuries, where works are based on complex, developed structures composed of non-symmetrical recurring units. The potential for analysis is demonstrated with several passages from Dohnanyi’s Piano Quintet, op. 26, first movement.

中文翻译：

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极化、模态定向和语音引导

本文试图将音调定义为不同层次结构之间的相互作用，根据音程距离、极化、模态方向和和声进行的声音引导的结合。区间距离取决于变换的模态方向以及任何层次级别中五分之一圆上的极化。根据转换理论，声音引导创造了既体现又超过了音调事件的抽象概念的音高空间。这种调性模型与 19 世纪后期和 20 世纪早期的音乐特别相关，在这些音乐中，作品基于由非对称重复单元组成的复杂、发达的结构。Dohnanyi 的钢琴五重奏的几段话展示了分析的潜力，op。26、第一乐章。