This study aims at experimenting a double shift. First of all, I would like to assess the stakes of the shift from the pictural paradigm, which the critiques have often referred to concerning Claude Simon and more particularly The Georgics, to the more recently studied musical paradigm. Thanks to the hypothesis of a contrapuntal composition in The Georgics, the “nouveau roman” and the “tradition of the new”, to quote the title of a book Claude Simon was musing about at the end of his interview with Pierre Boulez and Bernard Pivot in 1981, can be put into perspective, and the way the novel deals with its relation to the past can be approached from the musical model.