The article is devoted to the study of the role and significance of the French quadrille in the Parisian musical life of the second-third quarter of the 19th century. The historical context that determined the spread of more democratic and accessible forms of public entertainment, as well as the conditions that predetermined the increase in the popularity of the quadrille are highlighted. Quadrille music was played in ballrooms, in gardens and parks of Paris and the suburbs; quadrilles were played on the piano in drawing rooms, and were learned as instructional pieces. The main features of the technique of creating quadrille music are revealed: quadrille sets were composed by arrangers using popular opera melodies. Adaptation techniques are shown that give opera melodies the genre properties of contradance: changes in the original rhythmic canvas, tempo, phrasing, texture. Giving the source material dance properties often led to simplification and loss of individual features of the original, ‒ but with the acquisition of the character of a cheerful frivolous dance. The properties of the “quadrille effect” caused by the use of the technique of “caricaturing” the source material are noted. Reflection of this effect in the mainstream of academic music led to artistic results in works of a comic, scherzo nature.Taking a significant place in the musical life of Parisians, quadrille music influenced public musical tastes. The positive aspects of its influence on the formation of musical experience are shown: the ability to convey the intonation content of artistic works in a simplified, accessible form for unprepared perception. The reasons are expressed that explain the paradoxically small (in comparison with opera music) interest of quadrille composers in the use of ballet music.