En s'appuyant sur les recherches récentes en sciences sociales et sur les témoignages d'anciens élèves de grandes écoles de tout âge (les alumni), Jean-Philippe Decka décortique la prise de conscience, les doutes et les freins rencontrés par cette élite sur le chemin du renoncement consistant à tourner le dos à une carrière prestigieuse ultra rémunératrice et aux nombreux privilèges qui l'accompagnent.

Oscar Peterson was one of the greatest piano players of all time. A pianist with phenomenal technique on the level of his idol, Art Tatum, Peterson's speed, dexterity, and ability to swing at any tempo were amazing. Very effective in small groups, jam sessions, and in accompanying singers, O.P. was at his absolute best when performing unaccompanied solos. His original style did not fall into any specific idiom. Like Erroll Garner and George Shearing, Peterson's distinctive playing formed during the mid- to late '40s and fell somewhere between swing and bop. Peterson was criticized through the years because he used so many notes, didn't evolve much since the 1950s, and recorded a remarkable number of albums. Perhaps it is because critics ran out of favorable adjectives to use early in his career; certainly it can be said that Peterson played 100 notes when other pianists might have used ten, but all 100 usually fit, and there is nothing wrong with showing off technique when it serves the music.