This research aims to analyze how the musicians of the New Chilean Song, particularly Victor Jara, placed themselves as representatives of a specific social class that was racialized, as representatives of an artistic class and a socio-political ideal. For this, in addition to the historical analysis, songs by Victor Jara were analyzed under the bias of musical, phraseological and harmonic analysis, mainly through Nattiez’s musical semiology, combined with the decolonial theoretical perspective and cultural studies. From the knowledge that the musicians of the Nueva Canción Chilena in general and Jara, in particular, sought in their works to propagate the socialist revolution, and, after Allende's election, to support the Popular Unity government, it has the intention of analyze how the lyrics and the music of Jara intertwine with the theme approached by the composer. The Nueva Canción Chilena constituted a musical movement that allied the rescue of songs and folk manifestations to the political and social protest, flourishing in Chile approximately between the years of 1965 and 1973, next to similar movements in America. A study of the Chilean context was made, highlighting the polarization of its political context until the military coup against the government of Salvador Allende in 1973. Next, aspects of the Nueva Canción Chilena were approached, with their historical survey, forms of representation, dissemination, and intertwining with the Chilean elections of 1969. A biographical analysis of Jara was also carried out, with a view to placing the musician/composer within its historical context and within the movement of the New Chilean Song. A bibliographic survey of books, theses, dissertations, scientific articles, newspaper articles, television programs, and documentaries was carried out, as well as an analysis of published articles. The main authors used as a theoretical reference were Walter Mignolo (2005), Enrique Dussel (1992), Aníbal Quijano (2005), Stuart Hall (1998), Roger Chartier (1988), Raymond Williams (1979), Édouard Glissant (2005), Phillip Tagg (2003), Marcos Napolitano (2002) and Franco Fabbri (1981). Questions have been raised about how the musicians, and particularly Víctor Jara, represented themselves and their context, including notions regarding the racialization and domination of imperialist countries or elites, and the ways in which Víctor Jara sought to combine the themes addressed by the lyrics to melodic, harmonic and instrumental aspects.