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The mechanisms for linking people to their gods have much in common with the mechanisms of their relationship with music. Thus, human beings are left to act by 'an object' to which they confer the capacity to act autonomously (agency) while themselves producing the latter's fugitive presence. Music composed and interpreted by men acts on them in a way similar to how God can act in the world; that is to say, by means of a system of actions, know-how and objects through which these intangible or non-human 'things' are attached to the real world [1]. Both music [2] and divin have the power [3] over the production agents of their presence in the world, through a fabric of heterogeneous mediations by men: they are able to take them into action, inspire them, transmit emotions to them and subjuguate them with a taste of rescursivity; all this regardless of their patented creators. In their immateriality and invisibility, they offer the possibility of being thought of as agis 'objects' and acting independently of the action of those who act first. Similar in theory, they are also linked in practice in pentecôtist and Christian rite in general. Is it a measure that takes place without music or singing around the world [4]? Do the believers feel God's presence at the strongest when music is at its culmination? ; International audience ; The mechanisms for linking people to their gods have much in common with the mechanisms of their relationship with music. Thus, human beings are left to act by 'an object' to which they confer the capacity to act autonomously (agency) while themselves producing the latter's fugitive presence. Music composed and interpreted by men acts on them in a way similar to how God can act in the world; that is to say, by means of a system of actions, know-how and objects through which these intangible or non-human 'things' are attached to the real world [1]. Both music [2] and divin have the power [3] over the production agents of their presence in the world, through a fabric of heterogeneous ...