[...]"Beginning in the eighteenth century, ritualized belonging became representation. The musician… became a producer and seller of signs who was free in appearance, but in fact almost always exploited and manipulated by his clients… The attitude of music then changed profoundly: in ritual, it was one element in the totality of life… In contrast, in representation there was a gulf between the musicians and the audience; the most perfect silence reigned in the concerts of the bourgeoisie… The trap closed: the silence greeting the musicians was what created music and gave it autonomous existence, a reality. Instead of being a relation, it was no longer anything more than a monologue of specialists competing in front of consumers. The artist was born, at the same time that his work went on sale…"[...] (Attali, 46-47)
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