^Arnold Whittall, The Cambridge Introduction to Serialism (New York: Cambridge University Press, 2008): 276. ISBN978-0-521-68200-8 (pbk).
^Don Michael Randel, ed. (2003). "Set theory", The Harvard Dictionary of Music, p.776. Harvard. ISBN9780674011632.
^Tymoczko, Dmitri (2011). A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice, p.30. Oxford Studies in Music Theory. ISBN9780199714353.
^Müller, Meinard (2007). Information Retrieval for Music and Motion, p.60. ISBN9783540740483. "A pitch class is defined to be the set of all pitches that share the same chroma."
1. Arnold Whittall, The Cambridge Introduction to Serialism (New York: Cambridge University Press, 2008): 276. ISBN 978-0-521-68200-8 (pbk).
2. Don Michael Randel, ed. (2003). "Set theory", The Harvard Dictionary of Music, p.776. Harvard. ISBN 9780674011632.
3. Tymoczko, Dmitri (2011). A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice, p.30. Oxford Studies in
5. Müller, Meinard (2007). Information Retrieval for Music and Motion, p.60. ISBN 9783540740483. "A pitch class is defined to be the
set of all pitches that share the same chroma."
6. Whittall (2008), p.273.Robert D. Morris, "Generalizing Rotational Arrays", Journal of Music Theory 32, no. 1 (Spring 1988): 75–132, citation on 83.
延伸閱讀
1. Purwins, Hendrik (2005). "Profiles of Pitch Classes: Circularity of Relative Pitch and Key—Experiments, Models, Computational Music Analysis, and Perspectives". Ph.D. Thesis. Berlin: Technische Universität Berlin.
2. Rahn, John (1980). Basic Atonal Theory. New York: Longman; London and Toronto: Prentice Hall International. ISBN 0-02-873160-3. Reprinted 1987, New York: Schirmer Books; London: Collier Macmillan.
3. Schuijer, Michiel (2008). Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts. Eastman Studies in Music 60. Rochester, NY: University of Rochester Press. ISBN 978-1-58046-270-9.