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, La société francaise et le moderne Paris: Gallimard. 1 22% in the 35-44 age-group and 40% in the 15-19 age-group, according to a survey in France (Donnat, 1996) More generally, one out of ten French people has played an instrument or sung in a choir, for leisure, during the past year. 2 Based to some extent on the model suggested by Chartier (1987) who released the history of printing from the 'orality/literacy' binary trap, recalling that most books were publicly read in a loud voice, or, in a less historical approach, on the 'reception, Jauss, 1945.
, opportunely questions whether we can say that music was listened to at all before our conception of classical music! 5 Such an approach led Baxandall (1972) to say, in a very radical way, that in fact we don't s e e anymore paintings from the Renaissance. In the case of the record and its specific musical emotions 6 We have in mind Elias's precursory work, e.g, 1939.
, for a first report on this ongoing work. 8 In part for these reasons, opera has been much more studied that music itself, by sociologists as well as psychologists or social historians (Martorella, Constant, 1982.
, 9 The following elements come from her analyses, 1987.