This chapter introduces postwar music from Pierre Boulez, a contemporary of Cage, who represents "modern" pathology antithetical to the order of God for many theological commentators. In the 1950s, his brief experimentation with a compositional technique known as total serialism (also explored by modern composers such as Milton Babbitt and Karlheinz Stockhausen) sought to control in new works every musical value, including rhythm, pitch, dynamics, and attack, with restrictive and formulaic pre-compositional decision-making. Recent discourse about music and theology characterizes Boulez's method of extreme musical control as a negation of any sense of musical contingency and order provided by God. I retell a short biography of Boulez with emphasis upon his religious education and reevaluate his postwar total-serial works such as Structures Ia in order to suggest that his musical innovation emerges in the face of societal ruin and that his creativity is generative for theological analysis of music more broadly conceived.