When the director of La Revue sim, Jules Ecorcheville, left for the front in 1914, he wrote to his friend Émile Vuillermoz: If I do not come back, I recommend our work, dear friend. And above all, if you want to please me in the other world, try to maintain concord and harmony between the various elements that will be in the presence of my disappearance. Our periodical is made of different adjusted pieces (Friends, sim, etc.), which balance by miracle, a few years of cohesion are absolutely necessary again and it is precisely this concentration of our different strengths that should be maintained. In any case, my disappearance should not entailed that of a work which cost us, all, so much trouble. Is not it true? Despite the wish of Écorcheville, La Revue sim will disappear, but not for long since it will give birth to two new organizations in 1917 and 1920. During the war, the alumni of La Revue sim including Lionel de La Laurencie, will create the Company French musicology (sfm) on the ruins of the Société internationale de musique and will publish a Bulletin that will become the Revue de musicologie. Far from the current events, deliberately departing from the socio-political and cultural context, the sfm and its Bulletin will favor a very “scientific” and relatively new approach in France, of musicology, although still tinged by the historicizing trends in the manner of the Schola Cantorum and dismissing for a time all Germanic musicology. In parallel, under the auspices of the musicologist Henry Prunières who resolutely deviates from the sfm, is created La Revue musicale. It is from an international network that places French musicology at the heart of contemporary musical action that Prunières establishes new alliances with the world of arts and literature to found one of the most famous musical journals of the world of the first half of the 20th century. From unpublished documents, we will study the circumstances that lead to the re-founding of La Revue musicale on the ashes of the Revue sim between 1915 and 1919. We will thus see how the chances of war lead Prunières to undertake the publishing career and how the musicologist conceives the international project of the journal in a context of war that contributes to a redefinition of national cultures. It is difficult to extrapolate what the future of La Revue sim would have been if the war had not taken place. On the other hand, it is possible to document and understand the role that the Great War will play in the development of a new dynamic for French musicology whose division first justified by the conflict will have long-term consequences on the chessboard. international discipline.