This article seeks to elucidate how Chilean composer Prospero Bisquertt Prado (1881-1959)'s Procesion del Cristo de Mayo entered into a canonizing process inside Chilean academic music and how this process was directly linked to mediations of people and institutions with which the composer established relationships during his career. In order to do this, I resort to the interpretation of cross-referenced information extracted from texts, books and periodical publications known in the Chilean musicological or musicographic literature, but also to some lesser known hemerographical sources and historiographical texts that provide new lights for this subject.