List of Major League Baseball career home run leaders - wikipedia List of Major League Baseball career home run leaders Jump to : navigation , search Barry Bonds holds the record for most career home runs , hitting 762 over his 22 - year career . This is a list of the top 300 Major League Baseball leaders in home runs hit . In the sport of baseball , a home run is a hit in which the batter scores by circling all the bases and reaching home plate in one play , without the benefit of a fielding error . This can be accomplished either by hitting the ball out of play while it is still in fair territory ( a conventional home run ) , or by an inside - the - park home run . Barry Bonds holds the Major League Baseball home run record with 762 . He passed Hank Aaron , who is currently second with 755 , on August 7 , 2007 . The only other player to have hit 700 or more is Babe Ruth with 714 . Alex Rodriguez ( 696 ) , Willie Mays ( 660 ) , Ken Griffey , Jr. ( 630 ) , Albert Pujols ( 614 ) , Jim Thome ( 612 ) , and Sammy Sosa ( 609 ) are the only other players to have hit 600 or more . Listed are all Major League Baseball players with 215 or more home runs hit during official regular season ( i.e. , excluding playoffs or exhibition games ) . Players in bold face are active as of the 2017 Major League Baseball season ( including free agents ) , with the number in parentheses designating the number of home runs they have hit during the 2017 season . The last change in the cutoff for the top 300 occurred on September 30 , 2017 , when Carlos González hit his 215th career home run , displacing Jeff Conine and José Guillén . Contents ( hide ) 1 Key 2 List 3 See also 4 Notes 5 References Key ( edit ) Rank Rank amongst leaders in career home runs . A blank field indicates a tie . Player ( 2017 HRs ) Number of home runs hit during the 2017 Major League Baseball season . HR Total career home runs hit . * denotes elected to National Baseball Hall of Fame . Bold denotes active player . List ( edit ) Stats updated as of the 2017 season . Rank Player ( 2017 HRs ) HR Barry Bonds 762 Hank Aaron * 755 Babe Ruth * 714 Alex Rodriguez 696 5 Willie Mays * 660 6 Ken Griffey , Jr. * 630 7 Albert Pujols ( 23 ) 614 8 Jim Thome 612 9 Sammy Sosa 609 10 Frank Robinson * 586 11 Mark McGwire 583 12 Harmon Killebrew * 573 13 Rafael Palmeiro 569 14 Reggie Jackson * 563 15 Manny Ramirez 555 16 Mike Schmidt * 548 17 David Ortiz 541 18 Mickey Mantle * 536 19 Jimmie Foxx * 534 20 Willie McCovey * 521 Frank Thomas * 521 Ted Williams * 521 23 Ernie Banks * 512 Eddie Mathews * 512 25 Mel Ott * 511 26 Gary Sheffield 509 27 Eddie Murray * 504 28 Lou Gehrig * 493 Fred McGriff 493 30 Stan Musial * 475 Willie Stargell * 475 32 Carlos Delgado 473 33 Chipper Jones 468 34 Dave Winfield * 465 35 Adrián Beltré ( 17 ) 462 Miguel Cabrera ( 16 ) 462 José Canseco 462 Adam Dunn 462 39 Carl Yastrzemski * 452 40 Jeff Bagwell * 449 Vladimir Guerrero 449 42 Dave Kingman 442 43 Jason Giambi 440 44 Paul Konerko 439 45 Andre Dawson * 438 46 Carlos Beltrán ( 14 ) 435 47 Juan González 434 Andruw Jones 434 49 Cal Ripken , Jr. * 431 50 Mike Piazza * 427 51 Billy Williams * 426 52 Darrell Evans 414 53 Alfonso Soriano 412 54 Mark Teixeira 409 55 Duke Snider * 407 56 Andrés Galarraga 399 Al Kaline * 399 58 Dale Murphy 398 59 Joe Carter 396 60 Jim Edmonds 393 61 Graig Nettles 390 62 Johnny Bench * 389 63 Aramis Ramírez 386 64 Dwight Evans 385 65 Harold Baines 384 66 Larry Walker 383 67 Frank Howard 382 Ryan Howard ( 0 ) 382 Jim Rice * 382 70 Albert Belle 381 71 Orlando Cepeda * 379 Tony Pérez * 379 73 Matt Williams 378 74 Norm Cash 377 Jeff Kent 377 Rank Player ( 2017 HRs ) HR 76 Carlton Fisk * 376 77 Rocky Colavito 374 78 Gil Hodges 370 79 Todd Helton 369 Ralph Kiner * 369 81 Lance Berkman 366 82 Joe DiMaggio * 361 83 Gary Gaetti 360 84 Johnny Mize * 359 85 Yogi Berra * 358 Carlos Lee 358 87 Greg Vaughn 355 88 Luis Gonzalez 354 Lee May 354 90 Torii Hunter 353 91 Ellis Burks 352 92 Dick Allen 351 93 Chili Davis 350 94 Edwin Encarnación ( 38 ) 348 George Foster 348 96 Ron Santo * 342 97 Jack Clark 340 98 Tino Martinez 339 Dave Parker 339 Boog Powell 339 101 Don Baylor 338 102 Joe Adcock 336 103 Darryl Strawberry 335 104 Moisés Alou 332 Bobby Bonds 332 106 José Bautista ( 23 ) 331 Hank Greenberg * 331 Derrek Lee 331 109 Shawn Green 328 Mo Vaughn 328 111 Jermaine Dye 325 Willie Horton 325 113 Gary Carter * 324 Lance Parrish 324 115 Nelson Cruz ( 39 ) 323 116 Ron Gant 321 117 Vinny Castilla 320 Troy Glaus 320 119 Cecil Fielder 319 Prince Fielder 319 Curtis Granderson ( 26 ) 319 122 Roy Sievers 318 123 George Brett * 317 124 Ron Cey 316 Scott Rolen 316 126 Jeromy Burnitz 315 127 Matt Holliday ( 19 ) 314 Reggie Smith 314 129 Adrian Gonzalez ( 3 ) 311 Iván Rodríguez * 311 131 Jay Buhner 310 132 Edgar Martínez 309 133 Greg Luzinski 307 Al Simmons * 307 Miguel Tejada 307 136 Fred Lynn 306 Richie Sexson 306 Rubén Sierra 306 139 Raúl Ibañez 305 David Justice 305 Reggie Sanders 305 142 Steve Finley 304 143 Ryan Braun ( 17 ) 302 144 Robinson Canó ( 23 ) 301 Rogers Hornsby * 301 146 Chuck Klein * 300 147 Tim Salmon 299 148 Rickey Henderson * 297 149 Magglio Ordóñez 294 Robin Ventura 294 Rank Player ( 2017 HRs ) HR 151 Kent Hrbek 293 152 Pat Burrell 292 Rusty Staub 292 154 Craig Biggio * 291 Jimmy Wynn 291 156 Bobby Abreu 288 Del Ennis 288 Bob Johnson 288 Hank Sauer 288 160 Garret Anderson 287 Bobby Bonilla 287 Brian Giles 287 Bernie Williams 287 164 Carlos Peña 286 Frank Thomas 286 166 Will Clark 284 Eric Karros 284 168 Ken Boyer 282 Eric Davis 282 Ryne Sandberg * 282 171 Paul O'Neill 281 Mark Reynolds ( 30 ) 281 173 Ted Kluszewski 279 174 Mike Cameron 278 Ryan Klesko 278 176 Jay Bruce ( 36 ) 277 Rudy York 277 178 Brian Downing 275 Roger Maris 275 Dean Palmer 275 Jorge Posada 275 182 Dante Bichette 274 183 Steve Garvey 272 184 Tom Brunansky 271 Raúl Mondesí 271 George Scott 271 187 Vernon Wells 270 188 Joe Morgan * 268 Brooks Robinson * 268 Gorman Thomas 268 191 Chris Davis ( 26 ) 267 George Hendrick 267 Mike Napoli ( 29 ) 267 Giancarlo Stanton ( 59 ) 267 195 Vic Wertz 266 196 George Bell 265 Matt Stairs 265 198 Bobby Thomson 264 199 Brian McCann ( 18 ) 263 Hanley Ramírez ( 23 ) 263 201 Danny Tartabull 262 202 Eric Chavez 260 Derek Jeter 260 Evan Longoria ( 19 ) 260 Javy López 260 Tim Wallach 260 207 Matt Kemp ( 19 ) 259 208 Chase Utley ( 8 ) 258 209 Joey Votto ( 36 ) 257 210 Bob Allison 256 Larry Parrish 256 Vada Pinson 256 Justin Upton ( 35 ) 256 214 Kirk Gibson 255 Adam LaRoche 255 John Mayberry 255 John Olerud 255 218 Larry Doby * 253 Joe Gordon * 253 Andre Thornton 253 Todd Zeile 253 222 Bret Boone 252 Bobby Murcer 252 Joe Torre * 252 225 Tony Armas 251 Rank Player ( 2017 HRs ) HR Tony Clark 251 Adam Jones ( 26 ) 251 Cy Williams 251 Robin Yount * 251 Ryan Zimmerman ( 36 ) 251 231 José Valentín 249 232 Goose Goslin * 248 Ted Simmons 248 234 Justin Morneau ( 0 ) 247 Vern Stephens 247 236 Ken Singleton 246 237 Deron Johnson 245 Nick Swisher 245 Mickey Tettleton 245 239 Lou Whitaker 244 Hack Wilson * 244 242 Dusty Baker 242 Sal Bando 242 Wally Berger 242 Roy Campanella * 242 J.D. Drew 242 Aubrey Huff 242 David Wright ( 0 ) 242 249 Jesse Barfield 241 Cecil Cooper 241 Rick Monday 241 252 Jeff Burroughs 240 Roberto Clemente * 240 254 Dolph Camilli 239 Ken Caminiti 239 256 Earl Averill * 238 Ray Lankford 238 258 Doug DeCinces 237 Víctor Martínez ( 10 ) 237 Gus Zernial 237 261 Gabby Hartnett * 236 262 Johnny Damon 235 Bill Nicholson 235 Ben Oglivie 235 Dan Uggla 235 266 Ian Kinsler ( 22 ) 234 Gary Matthews 234 Kevin Mitchell 234 Paul Molitor * 234 270 Cliff Floyd 233 271 Jimmy Rollins ( 0 ) 231 272 Rob Deer 230 273 Nomar Garciaparra 229 Jayson Werth ( 10 ) 229 275 Howard Johnson 228 Dick Stuart 228 Hal Trosky 228 278 Marquis Grissom 227 279 Johnny Callison 226 280 Bobby Grich 224 Troy Tulowitzki ( 7 ) 224 282 Bobby Doerr * 223 Travis Fryman 223 Mike Lowell 223 285 Jason Bay 222 Don Mattingly 222 287 Tony Batista 221 Geoff Jenkins 221 289 Tony Oliva 220 Hunter Pence ( 13 ) 220 291 Jim Bottomley * 219 Al Oliver 219 Joe Pepitone 219 294 Bob Horner 218 295 Benito Santiago 217 296 Ron Fairly 215 Carlos González ( 14 ) 215 Pedro Guerrero 215 Chet Lemon 215 Mike Sweeney 215 See also ( edit ) Baseball portal 500 home run club List of Major League Baseball progressive career home runs leaders Notes ( edit ) Jump up ^ A player is considered inactive if he has announced his retirement or not played for a full season . References ( edit ) MLB Official Career Home Run List Active Leaders & Records for Home Runs Major League Baseball records Baseball statistics ( types of records ) General Record holders Single - game records Single - season records Record breakers by season Records considered unbreakable Batting leaders Career Batting average On - base percentage Times on base Slugging percentage OPS Hits 3,000 club Progressive Singles Doubles Triples Home runs 500 club Progressive Extra base hits RBIs Total bases Walks Intentional HBP Strikeouts Games played At - bats Plate appearances Annual Batting average Doubles Triples Home runs RBI Season Batting average Triples Home run Progressive Game Home runs Hitting for the cycle Grand slams RBI Game Inning Hits Misc Consecutive game hitting streak On - base plus slugging Hits Home runs Doubles Triples RBIs Baserunning leaders Career Runs Stolen bases Annual Runs Stolen bases Game Runs Misc Stolen bases Runs Pitching leaders Career Wins 300 club Losses Games started Games finished Innings pitched Strikeouts 3,000 club Saves Complete games Shutouts ERA WHIP Walks Hit batsmen Wild pitches Batters faced Annual Wins Saves Shutouts Strikeouts ERA Game No - hitter Perfect game List of perfect games Strikeouts Game Inning Immaculate innings Misc Wins Fielding leaders Career Putouts 1B 2B SS 3B OF LF CF RF Errors 1B Assists Passed balls Annual Putouts Errors Managing records Wins and winning percentage Multiple stat records Triple Crown 20 -- 20 -- 20 club 30 -- 30 club 40 -- 40 club Other Consecutive games played Longest winning streaks Longest losing streaks Baseball statistics Batting Batting average On - base percentage Slugging percentage Hit Single Double Triple Home run Extra-base hit Grand slam RBI Game - winning RBI Walk Bunt Sacrifice bunt Sacrifice fly On - base plus slugging Base running Run Stolen base Stolen base percentage Caught stealing Pitching Win -- loss record Innings pitched Pitchers of record Save Hold Run Earned ERA Strikeout Walk Perfect game No - hitter WHIP BB / 9 K / 9 Quality start Complete game Shutout Wild pitch Fielding Fielding percentage Assist Putout Error Fielder 's choice Defensive indifference Passed ball Sabermetrics Adjusted ERA+ Base runs Batting park factor Catcher 's ERA Defensive Runs Saved Extrapolated Runs Game score Isolated Power Range factor Runs created Secondary average NERD Out of zone plays made Ultimate zone rating Weighted on - base average Wins Above Replacement Win probability added Win Shares Retrieved from `` https://en.wikipedia.org/w/index.php?title=List_of_Major_League_Baseball_career_home_run_leaders&oldid=804558472 '' Categories : Major League Baseball lists Major League Baseball statistics Talk Contents About Wikipedia Español Português Edit links This page was last edited on 9 October 2017 , at 19 : 54 . 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Question: who holds the most home runs in mlb history


Serialism - wikipedia Serialism Jump to : navigation , search For the theory of dreams and time , see Serialism ( philosophy ) . Six - element row of rhythmic values used in Variazioni canoniche by Luigi Nono ( Whittall 2008 , 165 ) In music , serialism is a method of composition using series of pitches , rhythms , dynamics , timbres or other musical elements . Serialism began primarily with Arnold Schoenberg 's twelve - tone technique , though some of his contemporaries were also working to establish serialism as a form of post-tonal thinking . Twelve - tone technique orders the twelve notes of the chromatic scale , forming a row or series and providing a unifying basis for a composition 's melody , harmony , structural progressions , and variations . Other types of serialism also work with sets , collections of objects , but not necessarily with fixed - order series , and extend the technique to other musical dimensions ( often called `` parameters '' ) , such as duration , dynamics , and timbre . The idea of serialism is also applied in various ways in the visual arts , design , and architecture ( Bandur 2001 , 5 , 12 , 74 ; Gerstner 1964 , passim ) , and the musical concept has also been adopted in literature ( Collot 2008 , 81 ; Leray 2008 , 217 -- 19 ; Waelti - Walters 1992 , 37 , 64 , 81 , 95 ) . Integral serialism or total serialism is the use of series for aspects such as duration , dynamics , and register as well as pitch ( Whittall 2008 , 273 ) . Other terms , used especially in Europe to distinguish post -- World War II serial music from twelve - tone music and its American extensions , are general serialism and multiple serialism ( Grant 2001 , 5 -- 6 ) . Composers such as Arnold Schoenberg , Anton Webern , Alban Berg , Karlheinz Stockhausen , Pierre Boulez , Luigi Nono , Milton Babbitt , Elisabeth Lutyens , Charles Wuorinen and Jean Barraqué used serial techniques of one sort or another in most of their music . Other composers such as Béla Bartók , Luciano Berio , Benjamin Britten , John Cage , Aaron Copland , Olivier Messiaen , Arvo Pärt , Walter Piston , Ned Rorem , Alfred Schnittke , Ruth Crawford Seeger , Dmitri Shostakovich , and Igor Stravinsky used serialism only for some of their compositions or only for some sections of pieces , as did some jazz composers such as Yusef Lateef and Bill Evans . Contents ( hide ) 1 Basic definitions 1.1 Twelve - tone serialism 1.2 Non-twelve - tone serialism 2 History of serial music 2.1 Before World War II 2.2 After World War II 3 Reactions to and against serialism 4 Theory of twelve - tone serial music 5 Notable composers 6 See also 7 References 8 Further reading 9 External links Basic definitions ( edit ) Serialism is a method ( Griffiths 2001 , 116 ) , `` highly specialized technique '' ( Wörner 1973 , 196 ) , or `` way '' ( Whittall 2008 , 1 ) of composition . It may also be considered , `` a philosophy of life ( Weltanschauung ) , a way of relating the human mind to the world and creating a completeness when dealing with a subject '' ( Bandur 2001 , 5 ) . However , serialism is not by itself a system of composition , nor is it a style . Neither is pitch serialism necessarily incompatible with tonality , though it is most often used as a means of composing atonal music ( Griffiths 2001 , 116 ) . `` Serial music '' is a problematic term because it is used differently in different languages and especially because , shortly after its coinage in French , it underwent essential alterations during its transmission to German ( Frisius 1998 , 1327 ) . The use of the word `` serial '' in connection with music was first introduced in French by René Leibowitz ( 1947 ) , and immediately afterward by Humphrey Searle in English , as an alternative translation of the German Zwölftontechnik twelve - tone technique or Reihenmusik ( row music ) ; it was independently introduced by Herbert Eimert and Karlheinz Stockhausen into German in 1955 as serielle Musik , with a different meaning ( Frisius 1998 , 1327 ) , translated into English also as `` serial music '' . Twelve - tone serialism ( edit ) Serialism of the first type is most specifically defined as the structural principle according to which a recurring series of ordered elements ( normally a set -- or row -- of pitches or pitch classes ) are used in order or manipulated in particular ways to give a piece unity . Serialism is often broadly applied to all music written in what Arnold Schoenberg called `` The Method of Composing with Twelve Notes related only to one another '' ( Schoenberg 1975 , 218 ; Anon . n.d. ) , or dodecaphony , and methods that evolved from his methods . It is sometimes used more specifically to apply only to music where at least one element other than pitch is subjected to being treated as a row or series . In such usages post-Webernian serialism will be used to denote works that extend serial techniques to other elements of music . Other terms used to make the distinction are twelve - note serialism for the former , and integral serialism for the latter . A row may be assembled pre-compositionally ( perhaps to embody particular intervallic or symmetrical properties ) , or it may be derived from a spontaneously invented thematic or motivic idea . The structure of the row , however , does not in itself define the structure of a composition , which requires development of a comprehensive strategy . The choice of available strategies will of course depend on the relationships contained in a row class , and rows may be constructed with an eye to producing the relationships needed to form desired strategies ( Mead 1985 , 129 -- 30 ) . The basic set may have additional restrictions , such as the requirement that it use each interval only once . Non-twelve - tone serialism ( edit ) The series is not an order of succession , but indeed a hierarchy -- which may be independent of this order of succession . ( Boulez 1954 , , translated in Griffiths 1978 , 37 ) Rules of analysis derived from twelve - tone theory do not apply to serialism of the second type : `` in particular the ideas , one , that the series is an intervallic sequence , and two , that the rules are consistent '' ( Maconie 2005 , 119 ) . Stockhausen , for example , in early serial compositions such as Kreuzspiel and Formel , `` advances in unit sections within which a preordained set of pitches is repeatedly reconfigured ... The composer 's model for the distributive serial process corresponds to a development of the Zwölftonspiel of Josef Matthias Hauer '' ( Maconie 2005 , 56 ) , and Goeyvaerts , in such a work as Nummer 4 , provides a classic illustration of the distributive function of seriality : 4 times an equal number of elements of equal duration within an equal global time is distributed in the most equable way , unequally with regard to one another , over the temporal space : from the greatest possible coïncidence to the greatest possible dispersion . This provides an exemplary demonstration of that logical principle of seriality : every situation must occur once and only once . ( Sabbe 1977 , 114 ) For Henri Pousseur , after an initial period working with twelve - tone technique in works like Sept Versets ( 1950 ) and Trois Chants sacrés ( 1951 ) , serialism evolved away from this bond in Symphonies pour quinze Solistes ( 1954 -- 55 ) and in the Quintette ( à la mémoire d'Anton Webern , 1955 ) , and from around the time of Impromptu ( 1955 ) encounters whole new dimensions of application and new functions . The twelve - tone series loses its imperative function as a prohibiting , regulating , and patterning authority ; its working - out is abandoned through its own constant - frequent presence : all 66 intervallic relations among the 12 pitches being virtually present . Prohibited intervals , like the octave , and prohibited successional relations , such as premature note repetitions , frequently occur , although obscured in the dense contexture . The number twelve no longer plays any governing , defining rôle ; the pitch constellations no longer hold to the limitation determined by their formation . The dodecaphonic series loses its significance as a concrete model of shape ( or a well - defined collection of concrete shapes ) is played out . And the chromatic total remains active only , and provisionally , as a general reference . ( Sabbe 1977 , 264 ) In the 1960s Pousseur took this a step further , applying a consistent set of predefined transformations to pre-existent music . One example is the large orchestral work Couleurs croisées ( Crossed Colours , 1967 ) , which performs these transformations on the protest song `` We Shall Overcome '' , thereby creating a succession of different situations that are sometimes chromatic and dissonant and at other times diatonic and consonant ( Locanto 2010 , 157 ) . In his opera Votre Faust ( Your Faust , 1960 -- 68 ) Pousseur used a large number of different quotations , themselves arranged into a `` scale '' for serial treatment , so as to bring coherence and order to the work . This `` generalised '' serialism ( in the strongest possible sense ) aims not to exclude any musical phenomena , no matter how heterogenous , in order `` to control the effects of tonal determinism , dialectize its causal functions , and overcome any academic prohibitions , especially the fixing of an anti-grammar meant to replace some previous one '' ( Bosseur 1989 , 60 -- 61 ) . At about the same time , Stockhausen began using serial methods to integrate a variety of musical sources from recorded examples of folk and traditional music from around the world in his electronic composition Telemusik ( 1966 ) , and from national anthems in Hymnen ( 1966 -- 67 ) . He extended this serial `` polyphony of styles '' in a series of `` process - plan '' works in the late 1960s , as well as later in portions of Licht , the cycle of seven operas he composed between 1977 and 2003 ( Kohl 2002 , 97 et passim ) . History of serial music ( edit ) Before World War II ( edit ) In the late 19th and early 20th century , composers began to struggle against the ordered system of chords and intervals known as `` functional tonality '' . Composers such as Debussy and Strauss found differing ways of stretching the limits of the tonal system in order to accommodate their ideas . After a brief period of free atonality , Arnold Schoenberg and others began exploring tone rows , in which an ordering of the twelve pitches of the equal tempered chromatic scale is used as the source material of a composition . This ordered set , often called a row , allowed for new forms of expression and ( unlike free atonality ) the expansion of underlying structural organizing principles without recourse to common practice harmony ( Delahoyde n.d. ) . Twelve - tone serialism first appeared in the 1920s , with antecedents predating that decade ( instances of twelve - note passages occur in Liszt 's Faust Symphony Walker 1986 , and in Bach Cope 1971 , ) . Schoenberg was the composer most decisively involved in devising and demonstrating the fundamentals of twelve - tone serialism , though it is clear it is not the work of just one musician ( Whittall 2008 , 1 ) . After World War II ( edit ) Serialism , along with John Cage 's indeterminate music ( music composed with the use of chance operations ) , and Werner Meyer - Eppler 's aleatoricism , was enormously influential in post-war music . Theorists such as George Perle codified serial systems , and his 1962 text Serial Composition and Atonality became a standard work on the origins of serial composition in the work of Schoenberg , Berg , and Webern . The serialization of rhythm , dynamics , and other elements of music was partly fostered by the work of Olivier Messiaen and his analysis students , including Karel Goeyvaerts and Boulez , in post-war Paris . Olivier Messiaen 's unordered series for pitch , duration , dynamics , and articulation from the pre-serial Mode de valeurs et d'intensités , upper division only -- which Pierre Boulez adapted as an ordered row for his Structures I ( Whittall 2008 , 178 ) Several of the composers associated with Darmstadt , notably Karlheinz Stockhausen , Karel Goeyvaerts , and Henri Pousseur developed a form of serialism that initially rejected the recurring rows characteristic of twelve - tone technique , in order to eradicate any lingering traces of thematicism ( Felder 1977 , 92 ) . Instead of a recurring , referential row , `` each musical component is subjected to control by a series of numerical proportions '' ( Morgan 1975 , 3 ) . In Europe , the style of some serial as well as non-serial music of the early 1950s emphasized the determination of all parameters for each note independently , often resulting in widely spaced , isolated `` points '' of sound , an effect called first in German `` punktuelle Musik '' ( `` pointist '' or `` punctual music '' ) , then in French `` musique ponctuelle '' , but quickly confused with `` pointillistic '' ( German `` pointillistische '' , French `` pointilliste '' ) the familiar term associated with the densely packed dots in paintings of Seurat , despite the fact that the conception was at the opposite extreme ( Stockhausen and Frisius 1998 , 451 ) . Pieces were structured by closed sets of proportions , a method closely related to certain works from the de Stijl and Bauhaus movements in design and architecture called `` serial art '' by some writers ( Bochner 1967 ; Gerstner 1964 ; Guderian 1985 ; Sykora 1983 ) , specifically the paintings of Piet Mondrian , Theo van Doesburg , Bart van Leck , Georg van Tongerloo , Richard Paul Lohse , and Burgoyne Diller , who had been seeking to `` avoid repetition and symmetry on all structural levels and working with a limited number of elements '' ( Bandur 2001 , 54 ) . Stockhausen described the final synthesis in this manner : So serial thinking is something that 's come into our consciousness and will be there forever : it 's relativity and nothing else . It just says : Use all the components of any given number of elements , do n't leave out individual elements , use them all with equal importance and try to find an equidistant scale so that certain steps are no larger than others . It 's a spiritual and democratic attitude toward the world . The stars are organized in a serial way . Whenever you look at a certain star sign you find a limited number of elements with different intervals . If we more thoroughly studied the distances and proportions of the stars we 'd probably find certain relationships of multiples based on some logarithmic scale or whatever the scale may be . ( Cott 1973 , 101 ) Igor Stravinsky 's adoption of twelve - tone serial techniques offers an example of the level of influence that serialism had after the Second World War . Previously Stravinsky had used series of notes without rhythmic or harmonic implications ( Shatzkin 1977 ) . Because many of the basic techniques of serial composition have analogs in traditional counterpoint , uses of inversion , retrograde and retrograde inversion from before the war are not necessarily indicative of Stravinsky adopting Schoenbergian techniques . However with his meeting Robert Craft and acquaintance with younger composers , Stravinsky began to consciously study Schoenberg 's music , as well as the music of Webern and later composers , and began to use the techniques in his own work , using , for example , serial techniques applied to fewer than twelve notes . Over the course of the 1950s he used procedures related to Messiaen , Webern and Berg . While it is difficult to label each and every work as `` serial '' in the strict definition , every major work of the period has clear uses and references to its ideas . During this period , the concept of serialism influenced not only new compositions but also the scholarly analysis of the classical masters . Adding to their professional tools of sonata form and tonality , scholars began to analyze previous works in the light of serial techniques ; for example they found the use of row technique in previous composers going back to Mozart and Beethoven ( Jalowetz 1944 , 387 ; Keller 1955 , passim ) . In particular , the orchestral outburst that introduces the development section half - way through the last movement of Mozart 's next - to - last symphony is a tone row that Mozart punctuates in a very modern and violent episode that Michael Steinberg called `` rude octaves and frozen silences '' ( Steinberg 1998 , 400 ) . Ruth Crawford Seeger is credited with extending serial controls to parameters other than pitch and to formal planning as early as 1930 -- 33 ( Tick 2001 ) . Reactions to and against serialism ( edit ) the first time I ever heard Webern in a concert performance ... ( t ) he impression it made on me was the same as I was to experience a few years later when ... I first laid eyes on a Mondriaan canvas ... : those things , of which I had acquired an extremely intimate knowledge , came across as crude and unfinished when seen in reality . `` '' Karel Goeyvaerts on Anton Webern 's music . ( Goeyvaerts 1994 , 39 ) Some music theorists have criticized serialism on the basis that the compositional strategies employed are often incompatible with the way information is extracted by the human mind from a piece of music . Nicolas Ruwet ( 1959 ) was one of the first to criticise serialism through a comparison with linguistic structures , citing theoretical claims by Boulez and Henri Pousseur , and taking as specific examples bars from Stockhausen 's Klavierstücke I & II , and calling for a general re-examination of Webern 's music . Ruwet specifically names three works as exempt from his criticism : Stockhausen 's Zeitmaße and Gruppen , and Boulez 's Le marteau sans maître ( Ruwet 1959 , 83 , 85 , 87 , 93 -- 96 ) . In response , Pousseur ( 1959 ) questioned the equivalence made by Ruwet between phoneme and the single note . He also suggested that , if analysis of Le marteau sans maître and Zeitmaße , `` performed with sufficient insight '' , were to be made from the point of view of wave theory -- taking into account the dynamic interaction of the different component phenomena , which creates `` waves '' that interact in a sort of frequency modulation -- this analysis `` would accurately reflect the realities of perception '' . This was because these composers had long since acknowledged the lack of differentiation found in punctual music and , becoming increasingly aware of the laws of perception and complying better with them , `` paved the way to a more effective kind of musical communication , without in the least abandoning the emancipation that they had been allowed to achieve by this ' zero state ' that was punctual music '' . This was achieved , amongst other things , by the development of the concept of `` groups '' , which allows structural relationships to be defined not only between individual notes but also at higher and higher levels , up to the overall form of a piece . This is `` a structural method par excellence '' , and a sufficiently simple conception that it remains easily perceptible ( Pousseur 1959 , 104 -- 105 , 114 -- 15 ) . Pousseur also points out that serial composers were the first to recognize and attempt to move beyond the lack of differentiation within certain pointillist works ( Campbell 2010 , 125 ) . Pousseur later followed up his own suggestion , by developing his idea of `` wave '' analysis and applying it to Stockhausen 's Zeitmaße in two essays , Pousseur 1970 and Pousseur 1997 . Later writers have continued both lines of reasoning . Fred Lerdahl , for example , outlines Ruwet 's subject further in his essay `` Cognitive Constraints on Compositional Systems '' ( Lerdahl 1988 ) . Lehrdahl has in turn been criticized for excluding `` the possibility of other , non-hierarchical methods of achieving musical coherence , '' and for concentrating on the audibility of tone rows ( Grant 2001 , 219 ) , and the portion of his essay focussing on Boulez 's `` multiplication '' technique ( exemplified in three movements of Le Marteau sans maître ) has been challenged on perceptual grounds by Stephen Heinemann ( 1998 ) and Ulrich Mosch ( 2004 ) . Ruwet 's critique has also been criticised for making `` the fatal mistake of equating visual presentation ( a score ) with auditive presentation ( the music as heard ) '' ( Grant 2006 , 351 ) . Within the community of modern music , exactly what constituted serialism was also a matter of debate . The conventional English usage is that the word `` serial '' applies to all twelve - tone music , which is a subset of serial music , and it is this usage that is generally intended in reference works . Nevertheless , a large body of music exists that is called `` serial '' but does not employ note - rows at all , let alone twelve - tone technique , e.g. , Stockhausen 's Klavierstücke I -- IV ( the focus of Ruwet 's criticism , they use permuted sets ) , as well as his Stimmung ( with pitches from the overtone series , which also is used as the model for the rhythms ) and Pousseur 's Scambi ( where the permuted sounds are made exclusively from filtered white noise ) . When serialism is not equated with twelve - tone technique , a contributing problem is that the word `` serial '' is seldom if ever defined . Nevertheless , there are many published analyses of individual pieces in which the term is used , though examples are merely pointed out and the actual meaning is skated around ( Koenig 1999 , 298 ) . Theory of twelve - tone serial music ( edit ) Main article : Twelve - tone technique The vocabulary of serialism eventually became rooted in set theory , and uses a seemingly quasi-mathematical vocabulary to describe how the basic sets are manipulated to produce the final result . Musical set theory is often used to analyze and compose serial music , but may also be used to study tonal music and nonserial atonal music . The basis for serial composition is Schoenberg 's twelve - tone technique , where the twelve notes of the basic chromatic scale are organized into a row . This `` basic '' row is then used to create permutations , that is , rows derived from the basic set by reordering its elements . The row may be used to produce a set of intervals , or a composer may have wanted to use a particular succession of intervals , from which the original row was created . A row that uses all of the intervals in their ascending form once is an all - interval row . In addition to permutations , the basic row may have some set of notes derived from it , which is used to create a new row , these are derived sets . Because there are tonal chord progressions that use all twelve notes , it is possible to create pitch rows with very strong tonal implications , and even to write tonal music using twelve - tone technique . Most tone rows contain subsets that can imply a pitch center ; a composer can create music centered on one or more of the row 's constituent pitches by emphasizing or avoiding these subsets , respectively , as well as through other , more complex compositional devices ( Newlin 1974 ; Perle 1977 ) . To serialize other elements of music , a system quantifying an identifiable element must be created or defined ( this is called `` parametrization '' , after the term in mathematics ) . For example , if duration is to be serialized , then a set of durations must be specified . If tone colour ( timbre ) is to be serialized , then a set of separate tone colours must be identified , and so on . The selected set or sets , their permutations and derived sets form the basic material with which the composer works . Composition using twelve - tone serial methods focuses on each appearance of the collection of twelve chromatic notes , called an aggregate . ( Sets of more or fewer pitches , or of elements other than pitch may be treated analogously . ) The principle is that in a row , no element of the aggregate should be reused until all of the other members have been used , and each member must appear only in its place in the series . This rule is violated in numerous works still termed `` serial '' . An aggregate may be divided into subsets , and all the members of the aggregate not part of any one subset are said to be its complement . A subset is self - complementing if it contains half of the set and its complement is also a permutation of the original subset . This is most commonly seen with hexachords or six - note segments from a basic tone row . A hexachord that is self - complementing for a particular permutation is referred to as prime combinatorial . A hexachord that is self - complementing for all of the canonic operations -- Inversion , Retrograde and Retrograde Inversion -- is referred to as all - combinatorial . The composer then presents the aggregate . If there are multiple serial sets , or if several parameters are associated with the same set , then a presentation will have these values calculated . Large - scale design may be achieved through the use of combinatorial devices , for example , subjecting a subset of the basic set to a series of combinatorial devices . Notable composers ( edit ) Further information : List of dodecaphonic and serial compositions Hans Abrahamsen Gilbert Amy Louis Andriessen Denis ApIvor Hans Erich Apostel Kees van Baaren Milton Babbitt Tadeusz Baird Osvaldas Balakauskas Don Banks Jean Barraqué Jürg Baur Alban Berg Gunnar Berg Arthur Berger Erik Bergman Luciano Berio Karl - Birger Blomdahl Konrad Boehmer André Boucourechliev Pierre Boulez Martin Boykan Ole Buck Jacques Calonne Niccolò Castiglioni Aldo Clementi Salvador Contreras Aaron Copland Luigi Dallapiccola Franco Donatoni Hanns Eisler Manuel Enríquez Karlheinz Essl Franco Evangelisti Brian Ferneyhough Irving Fine Wolfgang Fortner Roberto Gerhard Frans Geysen Michael Gielen Alberto Ginastera Lucien Goethals Karel Goeyvaerts Jerry Goldsmith Henryk Górecki Glenn Gould Pelle Gudmundsen - Holmgreen César Guerra - Peixe Lou Harrison Jonathan Harvey Josef Matthias Hauer Hermann Heiss Hans Werner Henze York Höller Heinz Holliger Bill Hopkins Klaus Huber Karel Husa Hanns Jelinek Ben Johnston Nikolai Karetnikov Rudolf Kelterborn Gottfried Michael Koenig Józef Koffler Ernst Krenek Meyer Kupferman René Leibowitz Ingvar Lidholm Witold Lutosławski Elisabeth Lutyens John McGuire Bruno Maderna Ursula Mamlok Philippe Manoury Donald Martino Paul Méfano Jacques - Louis Monod Robert Morris Luigi Nono Per Nørgård Krzysztof Penderecki Goffredo Petrassi Michel Philippot Walter Piston Henri Pousseur Roger Reynolds Terry Riley George Rochberg Leonard Rosenman Cláudio Santoro Peter Schat Leon Schidlowsky Dieter Schnebel Arnold Schoenberg , considered the founder of serialism Humphrey Searle Ruth Crawford Seeger Mátyás Seiber Roger Sessions Nikos Skalkottas Roger Smalley Ann Southam Leopold Spinner Karlheinz Stockhausen Igor Stravinsky Robert Suderburg Richard Swift Camillo Togni Gilles Tremblay Fartein Valen Wladimir Vogel Anton Webern Hugo Weisgall Peter Westergaard Stefan Wolpe Charles Wuorinen La Monte Young See also ( edit ) Pitch interval References ( edit ) Anon . n.d. `` Arnold Schoenberg '' . Milken Archive of American Jewish Music ( archive from 1 December 2008 , accessed 23 February 2016 ) . Bandur , Markus. 2001 . Aesthetics of Total Serialism : Contemporary Research from Music to Architecture . Basel , Boston and Berlin : Birkhäuser . Bochner , Mel . 1967 . `` The Serial Attitude '' . Artforum 6 , no . 4 ( December ) : 28 -- 33 . Bosseur , Jean - Yves. 1989 . `` Votre Faust , miroir critique '' . Revue belge de musicologie / Belgisch tijdschrift voor muziekwetenschap 43 ( Liber amicorum Henri Pousseur : Henri Pousseur , ou , Le sérialisme entre modernisme et postmodernisme / Henri Pousseur , of , De lange weg naar de toekomst ) : 57 -- 70 . Boulez , Pierre . 1954 . `` ... auprès et au loin '' . Cahiers de la Compagnie Madeleine Renaud -- Jean - Louis Barrault 2 , no . 3 : 7 -- 27 . Reprinted in Relevés d'apprenti , edited by Paule Thévenin . Collection `` Tel quel '' . Paris : Éditions du Seuil , 1966 , 183 -- 203 . Also reprinted in Points de repère , third edition , 1 : 287 -- 314 . Paris : Christian Bourgois , 1995 . English version , as `` ... Auprès et au loin '' , in Pierre Boulez , Notes of an Apprenticeship , texts collected and presented by Paule Thévenin , translated by Herbert Weinstock , 182 -- 204 . New York : Alfred A. Knopf , 1968 . Another English version , as `` Near and Far '' , in Pierre Boulez , Stocktakings from an Apprenticeship , translated by Stephen Walsh , with an introduction by Robert Piencikowski , 141 -- 57 . Oxford : Clarendon Press ; New York : Oxford University Press , 1991 . ISBN 0193112108 . Campbell , Edward . 2010 . Boulez , Music and Philosophy . Music in the Twentieth Century 27 . Cambridge and New York : Cambridge University Press . ISBN 978 - 0 - 521 - 86242 - 4 . Collot , Michelle . 2008 . `` Le génie des lieux '' . In Michel Butor : déménagements de la littérature , edited by Mireille Calle - Gruber , 73 -- 84 . Paris : Presses Sorbonne Nouvelle . ISBN 9782878544176 . Cope , David . 1971 . New Directions in Music . Dubuque , Iowa : W.C. Brown Co . ISBN 9780697035561 . Cott , Jonathan . 1973 . Stockhausen ; Conversations with the Composer , New York : Simon & Schuster . Delahoyde , Michael . n.d. `` 20th - Century Music '' . Author 's website , Washington State University . Felder , David . 1977 . `` An Interview with Karlheinz Stockhausen '' . Perspectives of New Music 16 , no . 1 ( Fall -- Winter ) : 85 -- 101 . Forte , Allen . 1964 . `` A Theory of Set - Complexes for Music '' . Journal of Music Theory 8 , no . 2 ( Winter ) : 136 -- 84 . Forte , Allen . 1973 . The Structure of Atonal Music . New Haven and London : Yale University Press . Forte , Allen . 1998 . The Atonal Music of Anton Webern . New Haven : Yale University Press . Frisius , Rudolf. 1998 . Serielle Musik . In : Die Musik in Geschichte und Gegenwart : allgemeine Enzyklopädie der Musik . Second , newly compiled edition , edited by Ludwig Finscher , part 1 ( Sachteil ) , vol. 8 ( Quer -- Swi ) : 1327 -- 54 . Kassel & New York : Bärenreiter ; Stuttgart : Metzler . ISBN 978 - 3 - 7618 - 1109 - 2 ( Bärenreiter ) ISBN 978 - 3 - 476 - 41008 - 5 ( Metzler ) . Gerstner , Karl. 1964 . Designing Programmes : Four Essays and an Introduction , with an introduction to the introduction by Paul Gredinger ( de ) . English version by D.Q. Stephenson . Teufen , Switzerland : Arthur Niggli . Enlarged , new edition 1968 . Goeyvaerts , Karel. 1994 . `` Paris -- Darmstadt 1947 -- 1956 : Excerpt from the Autobiographical Portrait '' , translated by Patrick Daly , Peter Vosch , and Roger Janssens . Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 48 ( The Artistic Legacy of Karel Goeyvaerts : A Collection of Essays ) : 35 -- 54 . Grant , Morag Josephine . 2001 . Serial Music Serial Aesthetics : Compositional Theory in Post-War Europe . Music in the Twentieth Century , Arnold Whittall , general editor . Cambridge : Cambridge University Press . ISBN 0 - 521 - 80458 - 2 . Grant , Morag Josephine . 2006 . Untitled review of Wege zum musikalischen Strukturalismus : René Leibowitz , Pierre Boulez , John Cage und die Webern - Rezeption in Paris um 1950 , by Inge Kovács ( Schliengen : Argus , 2003 ) ; Die soziale Isolation der neuen Musik : Zum Kölner Musikleben nach 1945 , by Michael Custodis ( Beihefte zum Archiv für Musikwissenschaft 54 , Stuttgart : Franz Steiner , 2004 ) ; Reihe und System : Signaturen des 20 . Jahrhunderts . Symposiumsbericht , edited by Sabine Meine ( Monographien der Institut für Musikpädogogische Forschung der Hochschule für Musik und Theater Hannover 9 , Hannover : Institut für Musikpädagogische Forschung , 2004 ) . Music and Letters 87 , no . 2 ( May ) : 346 -- 52 . Griffiths , Paul . 1978 . Boulez . Oxford Studies of Composers 16 . London and New York : Oxford University Press . ISBN 0 - 19 - 315442 - 0 . Griffiths , Paul . 2001 . `` Serialism '' . The New Grove Dictionary of Music and Musicians , second edition , edited by Stanley Sadie and John Tyrrell , 23 : 116 -- 23 . London : Macmillan Publishers . Guderian , Dietmar. 1985 . `` Serielle Strukturen und harmonikale Systeme '' . In Vom Klang der Bilder : die Musik in der Kunst des 20 . Jahrhunderts , edited by Karin von Maur , 434 -- 37 . Munich : Prestel - Verlag . Heinemann , Stephen . 1998 . `` Pitch - Class Set Multiplication in Theory and Practice '' . Music Theory Spectrum 20 , no . 1 : 72 -- 96 . Jalowetz , Heinrich. 1944 . `` On the Spontaneity of Schoenberg 's Music '' . ( Subscription access ) The Musical Quarterly 30 , no . 4 ( October ) : 385 -- 408 . Keller , Hans . 1955 . `` Strict Serial Technique in Classical Music '' . Tempo ( new series ) no . 37 ( Autumn ) : 12 -- 16 , 21 -- 24 . Koenig , Gottfied Michael . 1999 . Ästhetische Praxis : Texte zur Musik , Supplement I , edited by Stefan Fricke , Wolf Frobenius , and Sigrid Konrad . Quellentexte der Musik des 20 . Jahrhunderts 1.4 . Saarbrücken : Pfau - Verlag , 1999 . ISBN 3 - 89727 - 056 - 0 . Kohl , Jerome . 2002 . `` Serial Composition , Serial Form , and Process in Karlheinz Stockhausen 's Telemusik . '' In Electroacoustic Music : Analytical Perspectives , ed . Thomas Licata , 91 -- 118 . Westport , Conn. and London : Greenwood Press . ISBN 0 - 313 - 31420 - 9 . Leibowitz , René. 1947 . Schoenberg et son école : l'étape contemporaine du langage musical . ( Paris ) : J.B. Janin . ( English edition , as Schoenberg and His School : The Contemporary Stage in the Language of Music . Translated by Dika Newlin . New York : Philosophocal Library , 1949 ) . Leray , Pascal. 2008 . Portrait de la série en jeune mot . Mazères : Le chasseur abstrait éditeur . ISBN 978 - 2 - 35554 - 025 - 7 . Lerdahl , Fred . 1988 . `` Cognitive Constraints on Compositional Systems '' . In Generative Processes in Music , ed . John Sloboda . Oxford : Oxford University Press . Reprinted in Contemporary Music Review 6 , no . 2 ( 1992 ) : 97 -- 121 . Lerdahl , Fred , and Ray Jackendoff. 1983 . A Generative Theory of Tonal Music . Cambridge , Mass. : MIT Press . Locanto , Massimiliano. 2010 . `` Karel Goeyvaerts -- Henry ( sic ) Pousseur : deux compositeurs belges au cœur de la Nouvelle Musique '' . In Album Belgique , edited by Annamaria Laserra , 151 -- 64 . Brussels : P.I.E. Peter Lang . ISBN 978 - 90 - 5201 - 635 - 1 . Maconie , Robin . 2005 . Other Planets : The Music of Karlheinz Stockhausen . Lanham , Maryland , Toronto , Oxford : The Scarecrow Press , Inc . ISBN 0 - 8108 - 5356 - 6 . Mead , Andrew . 1985 . `` Large - Scale Strategy in Arnold Schoenberg 's Twelve - Tone Music '' . Perspectives of New Music 24 , no . 1 ( Fall -- Winter ) : 120 -- 57 . Meyer , Leonard B. 1967 . Music , the Arts , and Ideas : Patterns and Predictions in Twentieth - Century Culture . Chicago and London : University of Chicago Press . ( Second edition 1994 . ) Morgan , Robert . 1975 . `` Stockhausen 's Writings on Music '' . ( Subscription access ) The Musical Quarterly 61 , no . 1 ( January ) : 1 -- 16 . Reprinted in the Musical Quarterly 75 , no . 4 ( Winter 1991 ) : 194 -- 206 . Mosch , Ulrich. 2004 . Musikalisches Hören serieller Musik : Untersuchungen am Beispiel von Pierre Boulez ' `` Le Marteau sans maître '' . Saarbrücken : Pfau - Verlag . Newlin , Dika. 1974 . `` Secret Tonality in Schoenberg 's Piano Concerto '' . Perspectives of New Music 13 , no . 1 ( Fall -- Winter ) : 137 -- 39 . Perle , George . 1962 . Serial Composition and Atonality : An Introduction to the Music of Schoenberg , Berg , and Webern . Berkeley : University of California Press . Perle , George . 1977 . Twelve - tone Tonality . Berkeley : University of California Press . Pousseur , Henri . 1959 . `` Forme et pratique musicales '' . Revue Belge de Musicologie 13 : 98 -- 116 . Slightly revised and expanded version , trans . into English as `` Music , Form and Practice ( An Attempt to Reconcile Some Contradictions ) '' . Die Reihe 6 ( 1964 ) : 77 -- 93 . Pousseur , Henri . 1970 . `` En guise de conclusion : Pour une Périodicitée generalisée '' . In his Fragments théoriques I : Sur la musique expérimentale , 241 -- 90 . Études de sociologie de la musique . Brussels : Editions de l'Institut de Sociologie Université Libre de Bruxelles . Pousseur , Henri . 1997 . `` Zeitmasze : série , périodicité , individuation '' . Chapter 12 of his Musiques croisées , preface by Jean - Yves Bosseur , 171 -- 89 . Collection Musique et Musicologie . Paris : L'Harmattan . Ross , Alex . 2007 . The Rest Is Noise : Listening to the Twentieth Century . New York : Farrar , Straus and Giroux , ISBN 978 - 0 - 374 - 24939 - 7 . Ruwet , Nicolas . 1959 . `` Contradictions du langage sériel '' . Revue Belge de Musicologie 13 ( 1959 ) , 83 -- 97 . English trans. , as `` Contradictions within the Serial Language '' . Die Reihe 6 ( 1964 ) : 65 -- 76 . Sabbe , Herman . 1977 . Het muzikale serialisme als techniek en als denkmethode : Een onderzoek naar de logische en historische samenhang van de onderscheiden toepassingen van het seriërend beginsel in de muziek van de periode 1950 -- 1975 . Ghent : Rijksuniversiteit te Gent . Schoenberg , Arnold . 1975 . Style and Idea : Selected Writings of Arnold Schoenberg . Edited by Leonard Stein , translated by Leo Black . Berkeley and Los Angeles : University of California Press . ISBN 0 - 520 - 05294 - 3 . Schwartz , Steve . 2001 . `` Richard Yardumian : Orchestral Works '' . Classical Net ( Accessed 10 May 2011 ) . Shatzkin , Merton. 1977 . `` A Pre-Cantata Serialism in Stravinsky '' . Perspectives of New Music 16 , no . 1 ( Fall -- Winter ) : 139 -- 43 . Smith Brindle , Reginald. 1966 . Serial Composition . London , New York : Oxford University Press . Steinberg , Michael . 1998 . The Symphony : A Listener 's Guide . Oxford : Oxford University Press . Stockhausen , Karlheinz , and Rudolf Frisius. 1998 . `` Es geht aufwärts '' . In : Karlheinz Stockhausen , Texte zur Musik 9 , edited by Christoph von Blumröder , 391 -- 512 . Kürten : Stockhausen - Verlag . Straus , Joseph N. 1999 . `` The Myth of Serial ' Tyranny ' in the 1950s and 1960s '' ( Subscription access ) . The Musical Quarterly 83 : 301 -- 43 . Sykora , Katharina. 1983 . Das Phänomen des Seriellen in der Kunst : Aspekte einer künstlerischen Methode von Monet bis zur amerikanischen Pop Art . Würzburg : Könighausen + Neumann . Tick , Judith . 2001 . `` Crawford ( Seeger ) , Ruth ( Porter ) '' . The New Grove Dictionary of Music and Musicians , second edition , edited by Stanley Sadie and John Tyrrell . London : Macmillan Publishers . Waelti - Walters , Jennifer R. 1992 . Michel Butor . Collection monographique Rodopi en littérature française contemporaine 15 . Amsterdam and Atlanta : Rodopi . ISBN 9789051833867 . Walker , Alan . 1986 . Franz Liszt , volume two : The Weimar years 1848 -- 1861 . New York : Knopf . ISBN 9780394525402 . Whittall , Arnold . 2008 . The Cambridge Introduction to Serialism . Cambridge Introductions to Music . New York : Cambridge University Press . ISBN 978 - 0 - 521 - 86341 - 4 ( hardback ) ISBN 978 - 0 - 521 - 68200 - 8 ( pbk ) . Wörner , Karl H. 1973 . Stockhausen : Life and Work , introduced , translated , and edited by Bill Hopkins . London : Faber and Faber ; Berkeley and Los Angeles : University of California Press . ISBN 0 - 520 - 02143 - 6 . Further reading ( edit ) Delaere , Marc . 2016 . `` The Stockhausen -- Goeyvaerts Correspondence and the Aesthetic Foundations of Serialism in the Early 1950s '' . In The Musical Legacy of Karlheinz Stockhausen : Looking Back and Forward , edited by M.J. Grant and Imke Misch , 20 -- 34 . Hofheim : Wolke Verlag . ISBN 978 - 3 - 95593 - 068 - 4 . Eco , Umberto. 2005 . `` Innovation & Repetition : Between Modern & Postmodern Aesthetics '' . Daedalus 134 , no . 4 , 50 Years ( Fall ) : 191 -- 207 . doi : 10.1162 / 001152605774431527 . JSTOR 20028022 . Fürstenberger , Barbara . 1989 . Michel Butors literarische Träume : Untersuchungen zu Matière de rêves I bis V. Studia Romanica 72 . Heidelberg : C. Winter . ISBN 9783533040705 ; ISBN 9783533040699 . Gollin , Edward . 2007 . `` Multi-Aggregate Cycles and Multi-Aggregate Serial Techniques in the Music of Béla Bartók . '' Music Theory Spectrum 29 , no . 2 ( Fall ) : 143 -- 76 . doi : 10.1525 / mts. 2007.29. 2.143 . Gredinger , Paul . 1955 . `` Das Serielle '' . Die Reihe 1 ( `` Elektronische Musik '' ) : 34 -- 41 . English as `` Serial Technique '' , translated by Alexander Goehr . Die Reihe 1 ( `` Electronic Music '' ) , ( English edition 1958 ) : 38 -- 44 . Knee , Robin . 1985 . `` Michel Butor 's Passage de Milan : The Numbers Game '' . Review of Contemporary Fiction 5 , no . 3 : 146 -- 49 . Kohl , Jerome . 2017 . Karlheinz Stockhausen : Zeitmaße . Landmarks in Music Since 1950 , edited by Wyndham Thomas . Abingdon , Oxon ; London ; New York : Routledge . ISBN 978 - 0 - 7546 - 5334 - 9 . Krenek , Ernst . 1953 . `` Is the Twelve - Tone Technique on the Decline ? '' The Musical Quarterly 39 , no 4 ( October ) : 513 -- 27 . Miller , Elinor S. 1983 . `` Critical Commentary II : Butor 's Quadruple fond as Serial Music '' . Romance Notes 24 , no . 2 ( Winter ) : 196 -- 204 . Misch , Imke. 2016 . `` Karlheinz Stockhausen : The Challenge of Legacy : An Introduction '' . In The Musical Legacy of Karlheinz Stockhausen : Looking Back and Forward , edited by M.J. Grant and Imke Misch , 11 -- 19 . Hofheim : Wolke Verlag . ISBN 978 - 3 - 95593 - 068 - 4 . Rahn , John . 1980 . Basic Atonal Theory . New York : Schirmer Books . Roudiez , Leon S. 1984 . `` Un texte perturbe : Matière de rêves de Michel Butor '' . Romanic Review 75 , no . 2 : 242 -- 55 . Savage , Roger W.H. 1989 . Structure and Sorcery : The Aesthetetics of Post-War Serial Composition and Indeterminancy . Outstanding Dissertations in Music from British Universities . New York : Garland Publications . ISBN 0 - 8240 - 2041 - 3 . Schoffman , Nathan . 1981 . `` Serialism in the Works of Charles Ives '' . Tempo , new series , no . 138 ( September ) : 21 -- 32 . Scruton , Roger . 1997 . Aesthetics of Music . Oxford : Clarendon Press . ISBN 0 - 19 - 816638 - 9 . Quoted in Arved Ashbey , The Pleasure of Modernist Music ( University of Rochester Press , 2004 ) p. 122 . ISBN 1 - 58046 - 143 - 3 . Spencer , Michael Clifford . 1974 . Michel Butor . Twayne 's World Author Series TWS275 . New York : Twayne Publishers . ISBN 9780805721867 . Wangermée , Robert . 1995 . André Souris et le complexe d'Orphée : entre surréalisme et musique sérielle . Collection Musique , Musicologie . Liège : P. Mardaga . ISBN 9782870096055 . White , Eric Walter , and Jeremy Noble. 1984 . `` Stravinsky '' . In The New Grove Modern Masters . London : Macmillan Publishers . External links ( edit ) Wikiquote has quotations related to : Serialism Serial and twelve - note works by American composers ( archive from 26 July 2012 , accessed 23 February 2016 ) . 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Question: who abandoned traditional harmony and created the twelve-tone system for composition


Pitch Perfect 2 - wikipedia Pitch Perfect 2 Jump to : navigation , search Pitch Perfect 2 Theatrical release poster Directed by Elizabeth Banks Produced by Elizabeth Banks Paul Brooks Max Handelman Written by Kay Cannon Starring Anna Kendrick Rebel Wilson Brittany Snow Hailee Steinfeld Skylar Astin Ben Platt Adam DeVine Anna Camp Hana Mae Lee Alexis Knapp Ester Dean Katey Sagal Chrissie Fit Kelley Jakle Shelley Regner John Michael Higgins Elizabeth Banks Music by Mark Mothersbaugh Cinematography Jim Denault Edited by Craig Alpert Production company Gold Circle Films Distributed by Universal Pictures Release date April 20 , 2015 ( 2015 - 04 - 20 ) ( Las Vegas ) May 15 , 2015 ( 2015 - 05 - 15 ) ( United States ) Running time 115 minutes Country United States Language English Budget $29 million Box office $287.5 million Pitch Perfect 2 is a 2015 American musical comedy film directed and produced by Elizabeth Banks and written by Kay Cannon . It is a sequel to the 2012 film Pitch Perfect and the second installment in the Pitch Perfect trilogy . The film centers on the fictional Barden University Bellas , an all - female a cappella singing group , who try to beat out the German national team in a world singing championship . The film features an ensemble cast , including Anna Kendrick , Rebel Wilson , Hailee Steinfeld , Brittany Snow , Hana Mae Lee , Alexis Knapp , Ester Dean , Chrissie Fit , Kelley Jakle , and Shelley Regner , as well as Skylar Astin , Ben Platt , Adam DeVine , John Michael Higgins and Banks all reprising their roles . It was released in the United States on May 15 , 2015 by Universal Pictures . The film received generally positive reviews from critics and grossed over $287 million worldwide . It surpassed the total gross of the original film ( $115.4 million ) in five days , and also became the highest - grossing music comedy film of all - time , overtaking School of Rock ( $131.3 million ) . A sequel , Pitch Perfect 3 , was released on December 22 , 2017 in the USA . Contents ( hide ) 1 Plot 2 Cast 2.1 The Barden Bellas 2.2 Additional characters 3 Production 3.1 Casting 3.2 Filming 4 Music 5 Release 5.1 Marketing 5.2 Home media 6 Reception 6.1 Box office 6.2 Critical response 6.3 Accolades 6.3. 1 Billboard Music Awards 6.3. 2 Teen Choice Awards 6.3. 3 People 's Choice Awards 6.3. 4 Kids Choice Awards 6.3. 5 MTV Movie Awards 7 Sequel 8 References 9 External links Plot ( edit ) Three years after winning the previous competition , the Barden Bellas are now led by Beca Mitchell and three - time super senior Chloe Beale . The Bellas have become ICCA champions each of these three years . However , the group becomes involved in a national scandal , dubbed Muffgate , when a wardrobe malfunction causes Fat Amy 's pants to rip in front of President Barack Obama , showing her genitals to the public since she did not wear underwear , leading to the Bellas ' suspension from the ICCAs . Beca makes a deal to allow the Bellas to be reinstated should they win the World Championship of a cappella . Freshman Emily Junk begins her college career , hoping to follow in her mother Katherine 's footsteps by being a Bella . At orientation , she watches an a cappella performance by the Treblemakers , now led by Beca 's boyfriend Jesse Swanson . Benjamin `` Benji '' Applebaum , Jesse 's best friend , overhears Emily , leading to a crush on her . The Bellas learn that Das Sound Machine ( DSM ) , a German powerhouse group , have replaced the Bellas on their victory tour . Additionally , Beca has started an internship at a recording studio , Residual Heat , something only Jesse knows . Emily goes to the Bellas ' sorority house to audition for them because of their absence from the auditions . When she sings her unfinished song `` Flashlight , '' she succeeds in joining the Bellas . At a car show where the ICCA winners are due to perform , the Bellas scout their replacements , DSM , led by intimidating duo Pieter Krämer and Kommissar , who take delight in mocking the all - girl group . Later , the Bellas are invited to an exclusive riff - off against DSM . Also in attendance are the Treblemakers , Tone Hangers ( a group of former Treblemakers , including Bumper ) , and the Green Bay Packers . The Bellas make it to the final two , but end up losing to DSM in the final round when a nervous Emily flubs an attempt to sing `` Flashlight , '' her original song not from the right category ( `` 90 's Hip - Hop Jamz '' ) . The next day at the warmups , the Bellas ' chances of winning end in disaster when the performance sets Cynthia - Rose 's hair on fire by pyrotechnics . Even before then , John and Gail question the Bellas ' identity . In order to regain harmony and sync , Chloe takes them to a retreat led by former leader Aubrey Posen . Beca starts a heated debate with Chloe over herself being the only one thinking about life beyond the Bellas and Chloe 's obsession with winning Worlds . To prove to her boss that she can produce music well , Beca offers Emily to produce `` Flashlight '' at the studio . The group realizes that they will no longer be together and may go their separate ways after graduation , and regain harmony by singing `` Cups ( When I 'm Gone ) . '' At the studio , Emily and Beca present their song to Beca 's boss , in which he demonstrates envy for their talent and looks forward to producing with them . The senior Bellas graduate and they all head off to Copenhagen for the World Finals , with Jesse and Benji to cheer them on . They perform a harmonized version of `` Flashlight '' with Aubrey , Katherine , and other past Bellas joining in . The Bellas win the championship and repair their damaged legacy . As the senior Bellas leave Barden , they give Emily a belated proper initiation with Fat Amy showing her how to do the last tradition : christening the house by sliding down the staircase . In a mid-credits scene , Bumper performs on The Voice , he chooses Christina Aguilera as his coach and makes her uncomfortable when he gives her an oddly lengthy hug . Cast ( edit ) The Barden Bellas ( edit ) Anna Kendrick as Beca Mitchell , the senior leader of the Bellas , known for creating the unique modern - day sound of the Bellas . She is an aspiring record producer and is now an intern at Residual Heat , a record label . Brittany Snow as Chloe Beale , the three - time super senior with a Type A personality who is the co-leader of the Bellas . Rebel Wilson as Patricia `` Fat Amy '' , a senior Bella from Australia and Bumper 's love interest . Hana Mae Lee as Lilly Onakuramara , a senior Bella known for her quiet speaking voice , odd remarks , and beat - boxing . Alexis Knapp as Stacie Conrad , a senior Bella known for being overly sexual . Ester Dean as Cynthia - Rose Adams , a lesbian senior Bella known for her strong urban vocal skills . Hailee Steinfeld as Emily Junk , a freshman legacy Bella who is an aspiring songwriter , and Benji 's love interest . Her mother was also a Barden Bella , giving her the legacy status . Chrissie Fit as Florencia `` Flo '' Fuentes , a senior Bella who joined the group her sophomore year when she came to Barden University from Guatemala . Kelley Jakle as Jessica , a senior Bella . Shelley Regner as Ashley , a senior Bella . Additional characters ( edit ) Skylar Astin as Jesse Swanson , the leader of the Treblemakers and Beca 's boyfriend . Adam DeVine as Bumper Allen , Fat Amy 's love interest , former leader of the Treblemakers and current member of Tone Hangers . After working for John Mayer , he returns to Barden University as a security guard . Anna Camp as Aubrey Posen , former leader of the Bellas , now runs the Lodge of Fallen Leaves . Ben Platt as Benjamin `` Benji '' Applebaum , a senior Treblemaker , Jesse 's best friend and Emily 's love interest . Birgitte Hjort Sørensen as Kommissar , Das Sound Machine 's leader . Flula Borg as Pieter Krämer , Das Sound Machine 's ' second in command ' Katey Sagal as Katherine Junk , Emily 's mother and a former Bella . John Michael Higgins as John Smith , an a cappella competition commentator . Elizabeth Banks as Gail Abernathy - McKadden - Feinberger , an a cappella competition commentator . Keegan - Michael Key as Sammy , Beca 's boss at Residual Heat , a rude but successful producer . Shawn Carter Peterson as Dax , an intern at Residual Heat . David Cross ( credited as Sir Willups Brightlysmore ) as the Riff - Off host . Reggie Watts , John Hodgman , Jason Jones and Joe Lo Truglio as Tone Hanger singers . Pentatonix as Team Canada Penn Masala as Team India Filharmonic as Team Philippines Green Bay Packers players Clay Matthews , David Bakhtiari , Don Barclay , Josh Sitton and T.J. Lang play themselves in cameo appearances . Also appearing as themselves are Snoop Dogg , Natalie Morales , Jake Tapper , Joe Scarborough , Mika Brzezinski , Jimmy Kimmel , Rosie O'Donnell , Rosie Perez , Nicolle Wallace , Jordan Rodgers , Christina Aguilera , Adam Levine , Blake Shelton and Pharrell Williams . Robin Roberts , C.J. Perry and Kether Donohue appear as Legacy Bellas during the finale . Additionally , President Barack Obama , First Lady Michelle Obama and Shonda Rhimes briefly appear via archive footage . Production ( edit ) In December 2012 , Skylar Astin revealed that he and Rebel Wilson had had meetings with Universal Studios about the potential sequel . In April 2013 , it was confirmed that a sequel would be released in 2015 . Elizabeth Banks directed the sequel , and Kay Cannon returned as screenwriter . Paul Brooks produced for Gold Circle Films , alongside Banks and Max Handelman . Deke Sharon returned as vocal producer , and has a brief cameo as a German reporter . As in the first movie , they ran a month of `` a cappella boot camp '' before filming . Casting ( edit ) Anna Kendrick and Wilson returned to the cast early in 2014 to play the characters they originated in the first film . Brittany Snow reprised her character . On April 24 , Chrissie Fit was added to the cast . On May 1 , Hailee Steinfeld was added to the cast , playing a new member of the Barden Bellas . On May 5 , Adam DeVine was reported to return in the film . On May 14 , Katey Sagal was added to the cast , playing Steinfeld 's character 's mother . On May 29 , Flula Borg was added to the cast . He played the leader of a European a cappella group , Das Sound Machine , that competed with the Bellas . It was confirmed on June 18 , 2014 that Christopher Shepard was added to the cast . It was confirmed on June 19 , 2014 that Pentatonix would play the role of a rival group to the Barden Bellas . It was later confirmed that The Filharmonic from season 4 of The Sing Off would make a cameo appearance as a rival group from the Philippines . On August 24 , 2014 it was announced that Penn Masala , the all - male Hindi a cappella group from director Elizabeth Banks 's and producer Max Handelman 's alma mater The University of Pennsylvania , would be featured as a team from Southeast Asia . On June 25 , Birgitte Hjort Sørensen was confirmed added to the cast . Filming ( edit ) On May 21 , 2014 , principal photography began at Louisiana State University ( LSU ) campus in Baton Rouge . Music ( edit ) On December 3 , 2014 , Mark Mothersbaugh was hired to compose the music for the film . The official soundtrack was released on May 12 , 2015 . The special edition soundtrack was later released on August 8 , 2015 . The original album debuted at number one on the Billboard 200 , earning 107,000 album - equivalent units ( 92,000 copies of traditional sales ) in the week ending May 17 , 2015 . No . Title Music Length 1 . `` Universal Fanfare '' Elizabeth Banks John Michael Higgins 0 : 33 2 . `` Kennedy Center Performance ( We Got the World / Timber / America the Beautiful / Wrecking Ball ) '' The Barden Bellas 2 : 27 3 . `` Lollipop '' The Treblemakers 2 : 43 4 . `` Car Show ( Uprising / Tsunami ) '' Das Sound Machine 1 : 47 5 . `` Winter Wonderland / Here Comes Santa Claus '' Snoop Dogg Anna Kendrick 3 : 04 6 . `` Riff Off ( Thong Song / ( Shake , Shake , Shake ) Shake Your Booty / Low / Bootylicious / Baby Got Back / Live Like You Were Dying / Before He Cheats / A Thousand Miles / We Are Never Ever Getting Back Together / What 's Love Got to Do with It / This Is How We Do It / Doo Wop ( That Thing ) / Poison / Scenario / Insane in the Brain / Flashlight ) '' Das Sound Machine Tone Hangers The Barden Bellas Green Bay Packers The Treblemakers 4 : 24 7 . `` Jump '' Das Sound Machine Tone Hangers The Treblemakers Green Bay Packers 1 : 16 8 . `` Convention Performance ( Promises / Problem ) '' The Barden Bellas 1 : 41 9 . `` Back to Basics ( Boogie Woogie Bugle Boy / You Ca n't Hurry Love / Lady Marmalade / MMMBop / My Lovin ' ( You 're Never Gonna Get It ) ) '' The Barden Bellas 1 : 30 10 . `` Cups ( '' When I 'm Gone `` ) ( Campfire Version ) '' The Barden Bellas 0 : 45 11 . `` We Belong '' Rebel Wilson Adam DeVine 3 : 34 12 . `` Any Way You Want It ( World Championship Medley ) '' Pentatonix Filharmonic The Cantasticos The Singboks Penn Masala 1 : 56 13 . `` World Championship Finale 1 ( My Songs Know What You Did in the Dark ( Light Em Up ) / All I Do Is Win ) '' Das Sound Machine 2 : 01 14 . `` World Championship Finale 2 ( Run the World ( Girls ) / Where Them Girls At / Lady Marmalade / We Belong / Timber / Flashlight ) '' The Barden Bellas 4 : 16 15 . `` Crazy Youngsters '' Ester Dean 3 : 39 16 . `` Pitch Perfect 2 End Credit Medley '' Mark Mothersbaugh 3 : 00 17 . `` Flashlight '' Jessie J 3 : 29 18 . `` All of Me ( Bumper 's Audition ) '' Adam DeVine 1 : 27 Total length : 43 : 32 ( show ) Special edition No . Title Music Length 1 . `` Universal Fanfare '' Elizabeth Banks John Michael Higgins 0 : 33 2 . `` Kennedy Center Performance ( We Got the World / Timber / America The Beautiful / Wrecking Ball ) '' The Barden Bellas 2 : 27 3 . `` Bang Bang '' Jessie J Ariana Grande Nicki Minaj 3 : 19 4 . `` Lollipop '' The Treblemakers 2 : 43 5 . `` Change Your Life '' Iggy Azalea ( feat . T.I. ) 3 : 41 6 . `` Sunshine '' Teddybears 3 : 20 7 . `` Car Show ( Uprising / Tsunami ) '' Das Sound Machine 1 : 47 8 . `` A Different Beat '' Little Mix 3 : 27 9 . `` Winter Wonderland / Here Comes Santa Claus '' Snoop Dogg Anna Kendrick 3 : 04 10 . `` Riff Off ( Thong Song / ( Shake , Shake , Shake ) Shake Your Booty / Low / Bootylicious / Baby Got Back / Live Like You Were Dying / Before He Cheats / A Thousand Miles / We Are Never Ever Getting Back Together / What 's Love Got to Do with It / This Is How We Do It / Doo Wop ( That Thing ) / Poison / Scenario / Insane in the Brain / Flashlight ) '' Das Sound Machine Tone Hangers The Barden Bellas Green Bay Packers The Treblemakers 4 : 24 11 . `` Jump '' Das Sound Machine Tone Hangers The Treblemakers Green Bay Packers 1 : 16 12 . `` Convention Performance ( Promises / Problem ) '' The Barden Bellas 1 : 41 13 . `` Back to Basics ( Boogie Woogie Bugle Boy / You Ca n't Hurry Love / Lady Marmalade / MMMBop / My Lovin ' ( You 're Never Gonna Get It ) ) '' The Barden Bellas 1 : 30 14 . `` Cups ( '' When I 'm Gone `` ) ( Campfire Version ) '' The Barden Bellas 0 : 45 15 . `` We Belong '' Rebel Wilson Adam Devine 3 : 34 16 . `` Any Way You Want It ( World Championship Medley ) '' Pentatonix Filharmonic The Cantasticos The Singboks Penn Masala 1 : 56 17 . `` World Championship Finale 1 ( My Songs Know What You Did in the Dark ( Light Em Up ) / All I Do Is Win ) '' Das Sound Machine 2 : 01 18 . `` World Championship Finale 2 ( Run the World ( Girls ) / Where Them Girls At / Lady Marmalade / We Belong / Timber / Flashlight ) '' The Barden Bellas 4 : 16 19 . `` Crazy Youngsters '' Ester Dean 3 : 39 20 . `` Heartbreak Dream '' Betty Who 3 : 38 21 . `` Pitch Perfect 2 End Credit Medley '' Mark Mothersbaugh 3 : 00 22 . `` Flashlight '' Jessie J 3 : 29 23 . `` All of Me ( Bumper 's Audition ) '' Adam DeVine 1 : 27 24 . `` Flashlight ( Sweet Life Mix ) '' Hailee Steinfeld 2 : 58 25 . `` Any Way You Want It '' Pentatonix 2 : 30 26 . `` Flashlight ( Rebel Mix ) '' Jessie J 3 : 41 27 . `` Jungle '' The Barden Bellas 0 : 32 Total length : 70 : 38 Weekly charts Chart ( 2015 ) Peak position Australian Albums ( ARIA ) Austrian Albums ( Ö3 Austria ) 11 Belgian Albums ( Ultratop Flanders ) 144 Canadian Albums ( Billboard ) German Albums ( Offizielle Top 100 ) 12 New Zealand Albums ( RMNZ ) 8 Swiss Albums ( Schweizer Hitparade ) 26 Taiwanese Albums ( Five Music ) US Digital Albums ( Billboard ) US Billboard 200 US Vinyl Albums ( Billboard ) Year - end charts Chart ( 2015 ) Position Australian Albums ( ARIA ) 27 US Billboard 200 52 Release ( edit ) The film was released on May 7 , 2015 in Australia and New Zealand , and May 15 in the United States and Canada . Marketing ( edit ) A still from the rehearsals for the film was revealed on May 16 , 2014 . The poster was released on November 18 , 2014 and the trailer came out the following day . A second trailer was aired during Super Bowl XLIX on February 1 , 2015 . Home Media ( edit ) Director Elizabeth Banks stated an additional performance by the Treblemakers was filmed specifically for the DVD release . Also included on the DVD will be deleted scenes . On May 20 , 2015 , it was announced that FX Networks had acquired U.S. television broadcasting rights to the film . The Blu - ray and DVD editions of Pitch Perfect 2 were released on September 22 , 2015 in the U.S. with a Target - exclusive edition containing additional bonus features being released the same day . Reception ( edit ) Box Office ( edit ) Pitch Perfect 2 grossed $184.2 million in North America and $103.2 million in other territories for a worldwide total of $287.5 million , against a budget of $29 million . In its first five days , the film surpassed the total gross of the original ( $115.4 million ) , and also overtook School of Rock ( $131.3 million ) for the highest grossing musical - comedy of all - time and the second greatest musical debut ever ( behind Beauty and the Beast 's $174.8 million in 2017 ) . Deadline.com calculated the net profit of the film to be $139.6 million , when factoring together all expenses and revenues for the film . In the United States and Canada , Pitch Perfect 2 grossed $4.6 million from Thursday night showings and $27.8 million on its opening day , increasing the opening weekend projections from $40 million to $64 million . In its opening weekend , the film grossed $69.2 million , finishing first at the box office . The opening weekend gross was more than the entire North American total gross of the first film ( $65 million ) , is the third biggest PG - 13 comedy opening of all - time ( behind The Simpsons Movie 's $74 million in 2007 and Austin Powers in Goldmember 's $73 million in 2002 ) and the highest grossing opening ever for a musical . Outside North America , the film opened at number one in Australia and New Zealand , earning $7.6 million and $1.2 million respectively . The film grossed $22.1 million in Australia , $27.3 million in the United Kingdom and $2.7 million in New Zealand . Critical response ( edit ) On Rotten Tomatoes , the film has an approval rating of 65 % based on 196 reviews , with an average rating of 6 / 10 . The site 's critical consensus reads , `` Pitch Perfect 2 sings in sweet comedic harmony , even if it does n't hit quite as many high notes as its predecessor . '' On Metacritic , the film holds weighted average score of 63 out of 100 , based on 39 critics , indicating `` generally favorable reviews '' . In CinemaScore polls conducted during the opening weekend , cinema audiences gave the film an average grade of `` A -- '' on an A+ to F scale . Accolades ( edit ) This section does not cite any sources . Please help improve this section by adding citations to reliable sources . Unsourced material may be challenged and removed . ( August 2016 ) ( Learn how and when to remove this template message ) Billboard Music Awards ( edit ) 2016 Top Soundtrack ( won ) Teen Choice Awards ( edit ) 2015 Choice Movie : Comedy ( won ) 2015 Choice Movie Actor : Comedy ( Skylar Astin , won ) 2015 Choice Movie Actress : Comedy ( Anna Kendrick , won ) 2015 Choice Movie Actress : Comedy ( Rebel Wilson , nominated ) 2015 Choice Movie : Chemistry ( Anna Kendrick and Brittany Snow , won ) 2015 Choice Movie : Liplock ( Rebel Wilson and Adam DeVine , nominated ) 2015 Choice Movie : Hissy Fit ( Anna Kendrick , won ) 2015 Choice Movie : Scene Stealer ( Adam DeVine , nominated ) 2015 Choice Movie : Scene Stealer ( Green Bay Packers , nominated ) 2015 Choice Movie : Scene Stealer ( Hailee Steinfeld , nominated ) People 's Choice Awards ( edit ) Favorite Movie ( lost to Furious 7 ) Favorite Comedic Movie ( won ) Favorite Comedic Movie Actress ( Anna Kendrick , Rebel Wilson , both lost to Melissa McCarthy ) Kids Choice Awards ( edit ) Favorite Movie ( lost to Star Wars : The Force Awakens ) Favorite Movie Actress ( Anna Kendrick , Rebel Wilson , lost to Jennifer Lawrence ) MTV Movie Awards ( edit ) Best Female Performance ( Anna Kendrick , nominated ) Best Comedic Performance ( Rebel Wilson , nominated ) Best Kiss ( Rebel Wilson and Adam DeVine , won ) Best Ensemble Cast ( won ) Sequel ( edit ) Main article : Pitch Perfect 3 On April 11 , 2015 , a month before the release of the film , it was announced that Rebel Wilson would return for a third film , although she stated that she did not know if Anna Kendrick or any of the other cast members would also be reprising their roles . She added that she would be `` up for a Fat Amy spin - off , '' although nothing has been confirmed . Director , star , and producer Elizabeth Banks acknowledged the possibility of a third film , saying , `` I will say , it would be disingenuous to say that no one 's talking about a Pitch Perfect 3 ; the possibility of it . We are really focused on getting as many butts in seats for this one . If fans embrace it , we are going to seriously think about what the continuing journey would look like , but we do n't know what that is yet '' . On June 10 , 2015 , a third film was officially confirmed , with Kay Cannon returning to write the script . Several days later it was announced both Kendrick and Wilson would reprise their roles , and later Brittany Snow was also confirmed to return . Banks will also return to produce , but in June 2016 it was announced she would not be directing the film . The film was originally slated for a July 21 , 2017 release , and was later pushed back to August 4 , 2017 before moving back to the July 21 slot . In May 2016 it was moved again , this time being pushed back to December 22 , 2017 . As of January 2 , 2017 , Anna Kendrick , Rebel Wilson , Anna Camp , Brittany Snow , Ester Dean , Alexis Knapp , Hana Mae Lee , Kelley Jakle , Shelley Regner , Hailee Steinfeld , Chrissie Fit , and Elizabeth Banks have been confirmed to be reprising their roles . References ( edit ) Jump up ^ `` PITCH PERFECT 2 ( 12A ) '' . British Board of Film Classification . April 20 , 2015 . Retrieved April 20 , 2015 . Jump up ^ Brent Lang ( May 7 , 2015 ) . `` Box Office : ' Mad Max : Fury Road , ' ' Pitch Perfect 2 ′ Eye $40 Million Openings '' . Variety . ( Penske Media Corporation ) . Retrieved May 8 , 2015 . ^ Jump up to : `` Pitch Perfect 2 ( 2015 ) '' . Box Office Mojo . 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Jump up ^ Pitch Perfect 2 -- Featurette : `` Aca - Bootcamp '' ( HD ) . YouTube . May 5 , 2015 . Jump up ^ Highfill , Samantha ( February 6 , 2014 ) . `` Anna Kendrick , Rebel Wilson will return for ' Pitch Perfect 2 ' '' . Entertainment Weekly . Retrieved February 7 , 2014 . Jump up ^ Bahr , Lindsaay ( February 14 , 2014 ) . `` Casting Net : Brittany Snow is back for ' Pitch Perfect 2 ' ; Plus , Jessica Alba , more '' . Entertainment Weekly . Retrieved February 15 , 2014 . Jump up ^ `` Chrissie Fit Cast In ' Pitch Perfect 2 ′ '' . deadline.com. April 24 , 2014 . Retrieved April 25 , 2014 . Jump up ^ `` Hailee Steinfeld Joining Pitch Perfect 2 '' . vulture.com . May 1 , 2014 . Retrieved May 1 , 2014 . Jump up ^ Strecker , Erin ( May 5 , 2014 ) . `` Adam DeVine will return for ' Pitch Perfect 2 ' '' . ew.com . Retrieved May 7 , 2014 . Jump up ^ Kroll , Justin ( May 14 , 2014 ) . `` Katey Sagal Joins Cast of ' Pitch Perfect 2 ′ '' . variety.com . Retrieved May 15 , 2014 . Jump up ^ Yamato , Jen ( May 29 , 2014 ) . `` ' Pitch Perfect 2 ′ Adds German YouTuber Flula Borg '' . deadline.com . Retrieved May 30 , 2014 . Jump up ^ Stack , Tim ( November 21 , 2014 ) . `` Game On , Pitches ! '' . EW.com . Entertainment Weekly & Time Inc . Retrieved November 24 , 2014 . Jump up ^ Banks , Elizabeth ( June 20 , 2014 ) . `` ' Pitch Perfect 2 ′ Extra : Christopher Shepard ! ! ! This is a mash up of Pitch Perfect 2 and The Hunger Games . Amazing crowd , THANK YOU '' . deadline.com . Retrieved June 20 , 2014 . Jump up ^ Pentatonix to appear in Pitch Perfect 2 , insidemovies.ew.com ; accessed May 16 , 2015 . Jump up ^ Rebecca Ford . `` ' Pitch Perfect 2 ' Adds ' The Sing - Off ' A Cappella Group The Filharmonic ( Exclusive ) '' . The Hollywood Reporter . Jump up ^ Lim , Eunice ( August 24 , 2014 ) . `` The South Asian a cappella group is the only real collegiate performance group in the movie '' . The Daily Pennsylvanian . Retrieved May 8 , 2015 . Jump up ^ Tauber , Michelle ; Price , Lydia ( May 13 , 2015 ) . `` Pitch Perfect 2 : All the Details Behind UPenn 's A Cappella Group Cameo '' . People.com . Retrieved May 18 , 2015 . Jump up ^ Yamato , Jen ( June 25 , 2014 ) . `` ' Pitch Perfect 2 ′ Taps Danish Import Birgitte Hjort Sørensen '' . deadline.com . Retrieved June 26 , 2014 . Jump up ^ Christine ( May 20 , 2014 ) . `` ' Pitch Perfect 2 ′ is filming at LSU tomorrow with lots of extras '' . onlocationvacations.com . Retrieved May 26 , 2014 . Jump up ^ `` Mark Mothersbaugh to Score ' Pitch Perfect 2 ′ '' . filmmusicreporter.com . December 3 , 2014 . Retrieved December 14 , 2014 . ^ Jump up to : `` iTunes -- Music -- Pitch Perfect 2 ( Original Motion Picture Soundtrack ) by Various Artists '' . iTunes . ^ Jump up to : Pitch Perfect 2 : Special Edition ( Original Motion Picture Soundtrack ) , itunes.apple.com ; accessed January 2 , 2016 . 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Hung Medien . Retrieved May 24 , 2015 . Jump up ^ `` Weekly Top 20 -- Five Music Chart 2015 / 5 / 15 - 2015 / 5 / 21 '' ( in Chinese ) . Five Music . Archived from the original on May 21 , 2015 . Retrieved May 21 , 2015 . Jump up ^ `` Soundtrack Chart History ( Digital Albums ) '' . Billboard . Retrieved May 30 , 2015 . Jump up ^ `` Soundtrack Chart History ( Billboard 200 ) '' . Billboard . Retrieved May 30 , 2015 . Jump up ^ `` Soundtrack Chart History ( Vinyl Albums ) '' . Billboard . Retrieved May 30 , 2015 . Jump up ^ `` ARIA Charts - End of Year Charts - Top 100 Albums 2015 '' . Australian Recording Industry Association . Retrieved January 6 , 2016 . Jump up ^ `` TOP BILLBOARD 200 ALBUMS : YEAR END 2015 '' . Billboard . Retrieved December 10 , 2015 . Jump up ^ `` IMDb Pitch Perfect 2 '' . Retrieved February 1 , 2015 . Jump up ^ Anderton , Ethan ( May 16 , 2014 ) . `` First Look : Anna Kendrick & Barden Bellas Back in ' Pitch Perfect 2 ' '' . firstshowing.net . Retrieved May 16 , 2014 . Jump up ^ Super Bowl Official Trainer . Jump up ^ Elizabeth Banks talks accessed May 17 , 2015 Jump up ^ Denise Petski . `` ' Pitch Perfect 2 ′ Heads To FX -- Network Lands Exclusive TV Rights -- Deadline '' . Deadline . Jump up ^ `` Pitch Perfect 2 Blu - ray '' . Blu-ray.com . Retrieved July 8 , 2015 . Jump up ^ `` Pitch Perfect 2 Target edition Blu - ray '' . Blu-ray.com . Retrieved July 8 , 2015 . Jump up ^ Mike Fleming Jr ( March 22 , 2016 ) . `` No. 11 ' Pitch Perfect 2 ' -- 2015 Most Valuable Movie Blockbuster Tournament '' . Deadline.com . Retrieved March 23 , 2016 . Jump up ^ Pitch Perfect 2 blows away Mad Max and heads for $64 million debut , thewrap.com ; accessed May 17 , 2015 . Jump up ^ ' Pitch Perfect 2 ′ Makes $69.2 Million After Final Box Office Numbers Released , Variety ; accessed May 18 , 2015 Jump up ^ Box office report : Pitch Perfect 2 earns biggest movie musical opening ever , Entertainment Weekly ; accessed May 18 , 2015 Jump up ^ Nancy Tartaglione ( May 10 , 2015 ) . `` ' Pitch Perfect 2 ′ Sings , Soars Down Under ; ' Ultron ' Adds $68.3 M -- Intl Box Office '' . Deadline.com . ( Penske Media Corporation ) . Retrieved May 10 , 2015 . Jump up ^ `` Pitch Perfect 2 ( 2015 ) '' . Rotten Tomatoes . Retrieved November 10 , 2015 . Jump up ^ `` Pitch Perfect 2 reviews '' . Metacritic . Retrieved May 17 , 2015 . Jump up ^ `` Box Office : Pitch Perfect 2 Pitch - Slaps Mad Max : Fury Road '' . comingsoon.net . Retrieved May 19 , 2015 . Jump up ^ `` ' Pitch Perfect 3 ' in the Works ; Rebel Wilson to Return '' . Collider.com . Complex Media . April 11 , 2015 . Retrieved May 17 , 2015 . Jump up ^ Elizabeth Banks talks Pitch Perfect 3 accessed May 17 , 2015 Jump up ^ / Pitch Perfect 3 Announced Retrieved October 6 , 2015 Jump up ^ `` Brittany Snow Set to Return for ' Pitch Perfect 3 ′ '' . Variety . ( Penske Media Corporation ) . July 28 , 2015 . Retrieved August 7 , 2015 . Jump up ^ D'Alessandro , Anthony ( May 31 , 2016 ) . `` Universal Changes ' Pitch Perfect 3 ' Release Date Again ; ' Girl Trip ' Moves In '' . Jump up ^ `` Anna Camp Returning for ' Pitch Perfect 3 ' ( Exclusive ) '' . Jump up ^ `` Instagram post by Ester Dean Jan 2 , 2017 at 11 : 15pm UTC '' . Instagram . External links ( edit ) Pitch Perfect 2 on IMDb Pitch Perfect 2 at Box Office Mojo Pitch Perfect 2 at Rotten Tomatoes Pitch Perfect 2 at Metacritic Pitch Perfect Films Pitch Perfect ( 2012 ) Pitch Perfect 2 ( 2015 ) Pitch Perfect 3 ( 2017 ) Songs Soundtrack `` Cups '' Teen Choice Award for Choice Movie -- Comedy There 's Something About Mary ( 1999 ) Austin Powers : The Spy Who Shagged Me ( 2000 ) Miss Congeniality ( 2001 ) American Pie 2 ( 2002 ) Sweet Home Alabama ( 2003 ) Shrek 2 ( 2004 ) Napoleon Dynamite ( 2005 ) She 's the Man ( 2006 ) Knocked Up ( 2007 ) Juno ( 2008 ) Night at the Museum : Battle of the Smithsonian ( 2009 ) Date Night ( 2010 ) Bad Teacher ( 2011 ) 21 Jump Street ( 2012 ) Pitch Perfect ( 2013 ) The Other Woman ( 2014 ) Pitch Perfect 2 ( 2015 ) Ride Along 2 ( 2016 ) Retrieved from `` https://en.wikipedia.org/w/index.php?title=Pitch_Perfect_2&oldid=819532642 '' Categories : 2015 films English - language films 2010s buddy films 2010s LGBT - related films 2010s musical comedy films 2010s sequel films American buddy films American female buddy films American films American LGBT - related films American musical comedy films American sequel films Cultural depictions of Barack Obama Directorial debut films Films scored by Mark Mothersbaugh Films about competitions Films about music and musicians Films directed by Elizabeth Banks Films set in universities and colleges Films shot in Louisiana Gold Circle Films films Green Bay Packers LGBT - related buddy films LGBT - related comedy films LGBT - related musical films Universal Pictures films Hidden categories : CS1 Chinese - language sources ( zh ) Use mdy dates from August 2015 Track listings with deprecated parameters Track listings with input errors All articles with unsourced statements Articles with unsourced statements from August 2016 Articles needing additional references from August 2016 All articles needing additional references Talk Contents About Wikipedia Български Čeština Deutsch Español فارسی Français Gaeilge 한국어 Հայերեն Bahasa Indonesia Italiano עברית Latviešu Bahasa Melayu Nederlands 日本 語 Norsk Polski Português Русский Suomi Svenska தமிழ் Українська Tiếng Việt 中文 Edit links This page was last edited on 9 January 2018 , at 22 : 03 . 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Question: who played the music producer in pitch perfect 2