This article documents university extension activities carried out in homes in southern Brazil. It addresses and records the initiatives undertaken as university outreach (Lavor et al., 2023) by the academic community within protocols of vocal-instrumental music, outlining a process of institutionalizing domestic musical experiences in contemporary times, integrating education and family life. Historically, the domestic practice of music has been defined by family members and individuals connected to the household. In this extension setting, however, artists, students, and professors act as active “outsiders” to this nucleus, temporarily exercising control over the domestic scene. During the activity, they provide a unique experience of collective music-making and focused music appreciation for a group of people of different backgrounds and age groups. By temporarily transforming a living room into a performance stage for the arts (CHIAMULERA, 2010), everyday spaces of the host family are reimagined as scenic environments—stage, audience, and backstage—reshaping the household routine, where individual/family memory and educational practice intertwine. The research spans the period from 2012 to 2025, through the systematic collection of testimonies from active participants: performing artists and composers; families; partner institutions within the local community; and invited guests. A symbolic element of these actions was the enhancement of awareness and attentive listening to the soundscape of the community, with the participation of a bell ringer. His performative presence transformed commonplace local sounds into elements of discovery and learning. The activities reached communities in different regions, also including neighboring towns. The structural design of each event reflected the idiosyncrasies of the host families, encompassing a distinctive range of musical knowledge. The Palco Affetivo (CHIAMULERA, 2010, unpublished) —a concept of subjectivities emerging from diverse connections experienced during praxis—suggests that the scope of these activities achieves social impact in areas of study that are still at an introductory stage. The documentation work includes audiovisuais records, printed programs, and pedagogical materials as essential elements of the concreteness of the actions, forming an archive dedicated to preserving memory and studying the transformation of HausMusik: from a spontaneous domestic practice into an institutionalized project with formal objectives of music education, audience development, and strengthening the bond between art, community, and university. These actions exemplify how music, while producing aesthetic experiences, simultaneously generates intangible cultural heritage, fosters cultural exchange, and consolidates networks of collaboration among diverse participants—valuing the family and integrating history, memory, and educational artistic practice into a single cultural movement.