None of those are subjective. Why do you think that?
They are variables.
And overnight I came to a similar conclusion, that composition, exposure, and lighting are variables in tonality.
This thought though implies a larger context and firmly indicates to me that "tonality" is an artistic term.
I say this because composition, exposure, and lighting are personal choices we make in an effort to portray, for example, mood or personality.
Good tonality, portrays the intent of the photographer.
Distribution is integral part of tonality.
Composition goes beyond distribution. It is an interpretative term.
And as such composition depends on distribution, but distribution not on composition.
I have to disagree.
Distribution is absolutely dependent on composition (and lighting). It is driven completely by what we point the camera at and how those elements in the scene are lit.
For example, many of Karsh's portraits have huge dark areas, like the portrait of Georgia O’Keeffe, but the balance between how much black or white is in a print is, IMO, irrelevant to it's "tonality".
Karsh's artistic choices move the distribution around and the physical placement of the dark and light elements in relation to each other.
This seems to be a distinct part of what "we" call tonality.
And you would indeed not be talking about tonality, but about gradation and contrast.
And this is part of the confusion I see that surrounds "tonality's" common uses.
People try to describe HP5 or XP2 or Tri-X, outside the context of paper, composition, lighting, etcetera...; using the word tonality where they might be better off describing their thought with "gradation and contrast".
Example, I have heard some describe HP5 as looking "muddy", to me that suggests that maybe the exposure of the subject was simply placed to low on the curve or it was underdeveloped. Essentially they may be trying to print off the toe of the film.