This is a study about the relationship between music and "clandestinidad" during the time of the most recent dictatorship in Chile. This topic is explored in three dissimilar areas, which converge toward the consideration of the ways in wich the music representing the resistance to the dictatarial system developed in this particular historical situation. First of all, the conflicting relationship between the state apparatus and the opposition is discussed, with a special emphasis upon repression and censorship of the musics of resistance from a standpoint emphasizing the experiencing of prohibition and persecution. Thus, an interpretation of the clandestine repressive actions is put forward. Secondly, the specific dynamics of transiting between what is private and what is public is examined, particularly as it relates to the heterogeneous degrees of exposure and hiding of the members of resistance. Finally, the production of clandestine recordings containing material of a clear militant commitment is discussed. The key role of the cassette production is underlined., as the copy and circulation of cassettes became a cultural stronghold of resistance. Each area of this tripartite model presents an inner coherence of its own. Nevertheless the overall consideration of these thee areas serves as the basis of a first all encompassing view of the complex relationship between music and "clandestinidad" during the time of dictatorship.