Following the university unrest of May 1968, France implemented sweeping reforms in higher education, which subsequently influenced the reorganization of primary and secondary education in the 1970s. In the field of music education, however, despite initiatives by Marcel Landowski, head of the Ministry of Culture’s Music Department, who had been exploring institutional reforms since the late 1960s, music education did not become compulsory in primary and lower secondary schools until 1988. One major reason was the lack of musical training among maîtres uniques, resulting in the need to prepare new teachers capable of teaching music and to provide in-service training for existing teachers. Under these circumstances, most music education in primary schools during the 1970s relied on outreach activities by private music associations[1]. Among them, Jeunesses Musicales de France (JMF), the largest music association in France, played a particularly significant role[2]. However, previous research on French music education reforms has focused mainly on state policymakers (e.g., Landowski, 1966-77)[3], while little attention has been paid to the activities and influence of private music associations such as JMF. This study examines the role of JMF in the reform of music education during the 1970s through a critical analysis of historical sources: (1) JMF’s activity records from the 1970s preserved in the Archives départementales du Val-de-Marne, and (2) documents on music education policy from the late 1970s held in the Archives nationales de France. Two main aspects are analyzed: (1) the content and reception of JMF’s activities in primary and lower secondary schools, and (2) the relationship between JMF and central government bodies (the Ministries of Culture and Education). The analysis reveals that from 1970 onward, JMF implemented pioneering programs that anticipated both the Seventh National Plan (1976-80) and the Ministry of Education’s subsequent 1976 school music education plan. Notable initiatives included Concert scolaire (from 1970), which brought live performances and performer-student interactions to schools, and Galerie sonore (from 1973), a traveling exhibition and workshop introducing non-Western instruments and encouraging students’ active musical expression. These programs promoted cultural diversity, equal educational opportunities, and self-expression through music. While JMF later developed training programs for young animateurs musicaux, tensions emerged with government ministries regarding the role of external specialists in schools. This suggests that the Ministries may have prioritized certified teachers and national conservatories, viewing private associations mainly as interim actors in a transitional phase of educational reform.