From the concept of paratext developed by Genette (1987) and adapted to music by Escal (1996), this article provides insights on the modalities of (re)presentation of works played by Société de musique contemporaine du Québec (SMCQ) as conveyed by concert’s programs produced between 1966 and 2013. Following historical, organizational and musical programming contexts, concert’s programs are studied in a comparativist perspective to show similarities and differences. First of all, formal descriptions of the front page, format and layout guide the reflection on non verbal paratexts. Second, examination on written notices of SMCQ’s most played works asserts the authority given to composers, principal authors of the verbal paratexts about their own pieces. Thus, this article sheds light on SMCQ’s musical thoughts’ articulation and evolution during this period.