This paper aims at deconstructing the discourse and the practices which leads to the construction of musical authenticity. Since the 60¹s the traditional music from the world are accessible to a large french public through some discs collections. The analysis of the discs collection Ocora Radio France which depends on the french public radio of Radio France and its constitution and exposition through its catalogue from 62 to nowadays can help to understand how musical authenticity and its paradoxes work. The field of traditional music has built itself through the circulation of musical objects and through a fundamental opposition between art and culture. Its community organisation is based on the concept of authenticity. In this world cohabits a part of reality settled in common realizations, and a part of imaginary. The collection of traditional music could be seen as a ³system of knowledge-power² (a notion developed by Michel Foucault). This system works because it is guaranteed by what can be called a jargon of authenticity. The evolution of the public catalogues of Ocora Radio France shows that the collection is the result of a multiplicity of practices and of french post colonial representations (such as nationalism) which construct a world who find its coherence by putting away the mediating practices to organize a look of transparency. This is characteristic of a french way of thinking diversity: out of her or considered as a reminiscence of a magical past. Among the effects of these representations of traditional music is the elimination of the notion of interpretation as something really creative and not only imitative. Thinking to these kinds of representations and reconsidering traditional music through a renewing notion of interpretation (which is not only performance) can help us to draw a different way of thinking the close notions of filiation and source. These notions are fundamental in the Glissant¹s work, but what if we consider them through the light of traditional music?