Beethoven quartet as an, admittedly rather special but, for these purposes, nicely illustrative, sample of culture, no one would, I think, identify it with its score, with the skills and knowledge needed to play it, with the understanding of it possessed by its performers or auditors, nor, to take care, en passant, of the reductionists and reifiers, with a particular performance of it or with some mysterious entity transcending material existence. The “no one” is perhaps too strong here, for there are always incorrigibles.
