This article proposes a way to approach the study of social change from the vision of the social imaginary of Cornelius Castoriadis, trying to remedy its methodological limitations through the concept of “fictionalizing acts" (Iser, 1993). This concept allows analyzing the social imaginary as a "non-functionalist practical function". As an example of this proposal, a brief study of the case of the significance of music for power in the social transition from Mozart to Beethoven is carried out. A limitation of the model is its inability to specify the mechanisms of explanation of social change.