Abstract
Sociologists have focused on the human components of the art production system (professions, market, institutions) and have deliberately ignored the question of the aesthetic value of the works. The paper tries to show how sociology can talk of “music itself”, if not directly in terms of aesthetic content or social authenticity, in terms of the way in which, by rejecting some mediators and promoting others, both music and its social meaning are collectively constructed and “inscripted” into material devices. Focusing on the controversies concerning mediums gives an empirical insight into the principles actors adopt to define the “authenticity” of their music. I look at the impact such human and non-human intermediaries as the types of instruments used and the way performances are staged have on music produced in the field of the Baroque “revival” in France, with a comparison with rock and rap.
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