Through the study of the instrument's presence in Alexandrian and Carolingian courts and by reconstructing the conditions of employment under which it evolved, the text offers a history of the organ not only as a musical instrument but also as a political object manifesting superiority. A geo-political re-reading of the sources on the early organ can contribute to documenting and recounting the 'sound dimension', the musIcal aspects, of power-politics that, in various ages and cultures, have not refrained from recognizing in music and musical learning one of the foundations of its own strength.