Numerous research endeavors have detailed the music engagement practices of adults in the Nazi ghetto Terezín (Theresienstadt). Although researchers have enumerated the musical activities and performances of adults in Terezín, there is little scholarship about the musical experiences of children in the ghetto. To address this gap, I utilized a historical inquiry approach supported by qualitative evidence analysis procedures to foster an in-depth understanding of childhood music engagement in Terezín.Music engagement is a person’s involvement in performing, creating, responding to, observing, or connecting to music, both by oneself and with others. Music engagement practices can be divided into three categories: formal, non-formal, and informal. Individuals engage with music in diverse and multifaceted ways, which underscores the importance of recognizing multiple forms of music engagement to more fully understand musical identity and experience. By examining the nature of music engagement in Terezín, scholars and practitioners in the field of music education and Holocaust history may better understand the daily lives of young people in the ghetto, the creation of educational infrastructures in unstable circumstances, and the rationale and practices of music education under perilous conditions.Findings are organized according to the music engagement categories. Children in Terezín formally engaged with music by attending music classes within the secret education system “The Program,” participating in large ensembles, and taking private lessons. Children’s non-formal music engagement in Terezín included participation in extracurricular ensembles as well as musical and theatrical productions, the most famous example of which was Hans Krása’s children’s opera Brundibár. Informal childhood music engagement in Terezín included the use of music as a means of play and passing time, social engagement, and personal expression via song composition. Inequity of access in music engagement practices for children in Terezín was an additional prominent result of the thematic analysis.I concluded that the music engagement practices of children in Terezín were consistent with previous research findings related to adults’ music engagement practices in Terezín and other sites within the Nazi camp system. Other major themes regarding Access and Equity and the Importance of the Learning Environment in Terezín were consistent with previous literature. Future research should examine children’s responses to music engagement in Terezín, children’s motivations to engage with music in unstable circumstances, and continuous documentation of childhood music engagement in the context of human atrocities.