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Intellectual property contributes significantly to the legitimation process and the commercial interests of musical cultural industries. For more than two hundred years, legal protection has served to establish the autonomy of musical creation and reinforce the individuality of composers within the legal formula of “author rights.” By revisiting, through Adorno, the socio-economic and historical conditions of the symbolic constructs of author rights, this article aims to uncover the complex, industrial, fabric of musical intellectual property and to question its current transformations: can this legal framework still preserve the very thing that has attracted the interests of creators, namely the social recognition of the musician as an author and of their creation as an artistic work?