Starting from the works of Roland Barthes establishing a difference between music and love discourse, the author tries to show that narrow intrications are woven between the specific time approach at adolescence, music and enamoration. If it seems quite difficult to speak of a love absent-mindedness, the adolescent care seems wholly devoted to the quest of the soul and to the search of musical melodies liable to translate such an emotion. Now, such a care, which may become obsessive, can be alleviated by means of rhythms and musical sonorities corresponding gradually to puberty feelings. The love discourse of the adolescent would then be specifically translated into his musical choices punctuating the going across puberty and adolescens process.

The listening to music would then be granted such a virtue of going along and containing the transformational movement of the love object, on condition however that the sublimation potential may be called forth by the adolescent and be used to a maturation of his aesthetical choices. By offering a harmonious rhythmicity and melodious sensory qualities, the consensual musics scanning the latency stage and the path into puberty would then, through its Apollinian virtues (a pleasure of feeling in good shape), see to the upkeep of a harmonious vision of existence, before giving way to more sophisticated and more tortured musics, with dyonisiac accents which, while they at the same time keep the myth of primitive Unity and complementarity of the sexes, open towards a tragical vision of existence.