Emmanuelle Parrenin has always been a collector of sounds: she learns music in a clandestine and instinctive way by reproducing on a piano the melodies that she hears escaping from the various rehearsal rooms of the family home, where music resounds from everywhere: his father directs the Parrenin Quartet, and his mother is a harp teacher.

In the 1970s, she continued this truant relationship with music and sounds by going on the road, in France and Canada, to collect, nagra on her shoulder, tunes and traditional songs. She continues her exploration of the sounds of the past by rediscovering instruments that had fallen into oblivion at the time: the spinet, the hurdy-gurdy and later the harp, which she learned on her own. It thus contributes to the emergence of the folk movement in France.

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