The purpose of this article is to discuss the rules and prerequisites of an early 20th century Swedish folk music field that was dominated by fiddlers and instrumental music. Inspired by Pierre Bourdieu’s The Rules of the Art (1996), this study focuses on three members of the “culture nobility” (Broady 2000) of this area, Jon-Erik Hall, Jon-Erik Öst and Hjort Anders Olsson. I investigate how these three musicians cultivated their artistic activities in dialogue with the rules of the field. Furthermore, my aim is to highlight their roles as mediators of an emerging folk music field that finally became constituted and autonomised during the 1920s. The article is a continuation of earlier research by the author on the Swedish folk music field and its specific rules. The theoretical basis for the study is Bourdieu’s field theory, which is applied on the biographical narratives of the aforementioned fiddlers. The results reveal that all the three fiddlers, with slightly differing strategies, corresponded to the rules within the field to gain symbolic capital and an advantageous positioning within the field. Other findings concern the time around 1920 when the culture producers themselves take power over their own field from the bourgeoisie.