An overview of the advantages and limitations of Simon's Theorie der Tonfelder in the analysis of the highly chromatic segments of the nineteenth-century repertoire

Theorists and analysts have approached the tonal repertoire using various methodologies, from "traditional" harmonic analysis through Schenkerian reductionism to NEO-Riemannian transformational notions. They did so to confirm earlier established hypotheses or discover some underlying logic within the music composition that is not immediately apparent. Among the methodological approaches that have emerged in the past two decades, Theorie der Tonfelder (Pitch field theory) stands out. This innovative approach was proposed by the Hungarian-German conductor Albert Simon (1926-2000) and further developed in the book Die Neue Tonalität von Schubert Bis Webern. Hören Und Analysieren Nach Albert Simon of his pupil, Bernhard Haas (b. 1964). Tonfeldtheorie, while drawing on Schenkerian notions, simplifies highly chromatic tonal works into three pitch fields (Ger.): Funktion, Konstrukt, and Quintreihe. This unique approach includes only three scalar systems: octatonicism, hexatonic scale, and the row of fifths in the pitch organization of these fields. Theorie der Tonfelder was partially widespread in the previous decades, resulting in new analytical insights. However, it is essential to note that the practice exhibited some limitations, primarily due to technical and methodological aspects. Acknowledging limitations is crucial for a comprehensive understanding of Theorie der Tonfelder. With this in mind, the primary objective of this paper is to demonstrate the practical analytical advantages and limitations of the theory. This will be achieved by applying a carefully selected repertoire, showcasing its effectiveness and potential shortcomings in a real-world context. By doing so, we aim to provide a tangible understanding of how Theorie der Tonfelder can be applied in analyzing highly chromatic segments of 19th-century repertoire.