This essay will focus on the use of music in a few French films and a novel that participate in the Memory of the Holocaust. While commented on by their creators, like Louis Malle regarding Lacombe Lucien and Alain Resnais for Nuit et brouillard, and while studied by a few critics, like Shoshana Felman in her masterful analysis of Shoah, the musical presence in such narratives has rarely been.