ABSTRACT
Bourdieu declares that 'Sociology and art do not make good bedfellows'. The theory of belief is central to this predicament: a tool explaining the negative reactions actors have to the light which sociology throws on art. The sociology of art is born of the Durkheimian leap, which disrupts the immediate relationship between the art work and the amateur. The sociologist's mediation becomes a tool for disclosure, which follows its own very particular path. Sociology interrupts the relationship between the aesthetic subject and the artistic object by showing the social screen which this reciprocal projection demands. The difference between these two paths is greater or smaller depending on their stance towards the art object. The sociology of music lags behind the sociology of art, in terms of the issues which it has brought to the fore.
