The chapter starts with an account of the rather hesitant and belated reception of twelve-tone technique in Western Europe, as exemplified by the situation in Italy, Belgium, and the United Kingdom. This is followed by an overview of the origins of European multiple serialism extending beyond Webern and Messiaen. The chapter shows above all that European serialism should not be restricted to its main protagonists such as Boulez, Nono, or Stockhausen. The music historical narrative of this important development in the period 1950–75 is in want of a more diverse view. Consequently, this chapter focuses on lesser-known composers of serial music such as Jean Barraqué, Michel Fano, Gilbert Amy, Karel Goeyvaerts, Herman Van San, Henri Pousseur, Bruno Maderna, Gottfried Michael Koenig, Bill Hopkins, and Bo Nilsson. The perspective is not merely broadened by introducing other composers who wrote aesthetically appealing works, but more importantly, presented other interpretations of what constitutes multiple serialism.