This article traces the history of women members of the Société française de musicologie (Sfm) and women contributors to the Revue de musicologie from their simultaneous foundation in 1917. Drawing from an analysis of nine European and American musicological periodicals (the Revue de musicologie, the Revue musicale, Music & Letters, the Journal of the Royal Musical Association, The Musical Quarterly, the Journal of the American Musicological Society, Archiv für Musikwissenschaft, Studien zur Musikwissenschaft, and Acta Musicologica) and four national and international musicological societies (the Société Internationale de Musique, the SFM, the International Musicological Society, and the American Musicological Society), the study under- lines the unique aspects of the French musicological milieu in the first decades of the 20th century. Although marked by gender inequality, the practices of the SFM and its journal seem to have been significantly more inclusive than those of other countries. This situation became less pronounced in the 1960s, and by the 1990s, gender equality had improved in almost all of the periodicals of our corpus with the exception of the Revue de musicologie and Music & Letters, where gender equality was more or less achieved only after the turn to the new millennium. A number of factors contri- buted to the particularities of the French musicological milieu in terms of gender equality: the legacy of the SIM; the low institutionalisation of French musicology at the beginning of its history; the social graces as practiced by members of the Sfm; and the continuing presence of such grandes dames as Michel Brenet, Yvonne Rokseth, and Geneviève Thibault.