In the cultural Cold War context of competition between Communist-aligned World Peace Council and American-supported Congress for Cultural Freedom, the latter developed an offensive media policy, in particular with a bunch of specific journals in some European country, among others Preuves in France. Links were also built with other reviews for special issues, like La Revue Musicale. Twice, in 1952, on the occasion of the festival “L’Oeuvre du xx e siècle,” and in 1965–1966, with the survey “La musique sérielle aujourd’hui” (“Serial music today”) conducted by André Boucourechliev, composers’ texts about musical creation were gathered, respectively in La Revue Musicale and Preuves. Composers were asked—more or less explicitly—to express their opinion on the current evolution of music, generally or under a specific problematic. These writings display a great diversity in tone and content and reflect various ways to address the general public. This paper considers how composers enter this media field.