The “Música na Casa Projetos Sociais UFG” initiative, carried out by the Federal University of Goiás (UFG), Brazil,  and launched in 2019, aims to provide access to musical education based on the premise that music is essential for the integral development of the human being. Musical education, understood as a social and cultural practice, is approached in an expanded way—encompassing musical, social, cultural, and economic dimensions. The field of action of the music educator has been expanding, particularly in non-formal and non-school learning contexts, often linked to university extension programs/continuing education program or social projects connected to Non-Governmental Organizations (NGOs), churches, companies, and other spaces, as highlighted by Kater (2004), Oliveira (2006, 2007), Kleber (2014), and Souza (2014). Grounded in authors who question hegemonic methods of music teaching—those centered on Eurocentric techniques and repertoires of the conservatory tradition—this project draws upon alternative conceptions of music education that emphasize its social functions (Merriam, 1964) and approaches music teaching and learning from an anthropological perspective (Arroyo, 1999). Such approaches consider the relationships between music and everyday life (Souza, 2000), acknowledge musical diversity and its regional inflections (Queiroz, 2004), and view music education as a means of social transformation (Cruvinel, 2003, 2005). They also adopt Collective Instrumental Teaching as a methodology for instrumental initiation (Cruvinel, 2009), Music and Community (Cruvinel, 2014), popular education (Cruvinel, 2017), and creative guitar teaching for children (Cruvinel, 2001). Thus, the general goal of this project is to promote access to music education, based on the premise that musical practices are fundamental to the holistic development of the human being and to the social inclusion and emancipation of the learner-citizen. Specifically, it seeks to democratize access to musical training through instrumental and vocal groups open to the community at large and across all age groups—children, adolescents, youth, and adults. Through methodologies of Collective Instrumental Teaching, the project offered, between 2019 and 2025, workshops in guitar, flute, percussion, singing, viola caipira, musical awareness, and music initiation, with an average of 20 participants per group. Group instrumental music lessons were held twice a week, totaling three hours per week, and aimed to provide students with musical initiation through collective musical practice. In this context, theoretical knowledge and aural perception skills were integrated into the repertoire, guided by the concept of Applied Theory (Jaffé apud Galindo, 1998, 2000).The evaluation of the pedagogical process was conducted on an ongoing basis, grounded in students’ active participation as well as their musical and interpersonal development in the classroom. Each semester, public performances were organized in recital format. Data collection drew upon lesson plans, reports, recital programs, and recordings of excerpts from classes and recitals for each semester. As outcomes of the teaching and learning process, the effectiveness of collective instrumental practice in musical initiation was observed, alongside the expansion of access to musical education through a university extension project open to the community, fostering social and cultural inclusion. Identified challenges included the need to improve the physical infrastructure and to acquire additional musical instruments in order to broaden the program’s offerings. As the project is integrated into the undergraduate music curriculum, its instructors are undergraduate music students, resulting in a rotation of teachers each semester.