This text aims to reflect on the potential for music education of the "Music of the Peoples" project, conducted by professor and researcher Plínio Silva. The methodology used was a case study. (YIN, 2015) Plinio's Work with traditional music from various countries began in 1994 with the research, transcription, and arrangements of musical themes, combined with experience in the practice and research of medieval, Renaissance, and Baroque music carried out with the groups: Conjunto Renascentista de Curitiba, founded in 1981 by Eunice Brandão, and Studium Musicae, which currently dedicates itself not only to medieval music but also to this ethnic repertoire. Over the years, more than 700 musical themes have been transcribed — based on this research, the group Terra Sonora was founded in 1994. In its nine albums, the ensemble presents arrangements encompassing a repertoire of oral tradition, including group practices, lullabies, rituals, tributes, celebrations, and work songs from various peoples. When creating the arrangements, historical information about the people and their cultural context was taken into account (SILVA and PILATTI, 1999). The group was composed of professional singers and instrumentalists. Based on this work, two educational groups were created for UNESPAR/FAP students: Bayaka and Omundô. The groups were led by Plínio Silva and Liane Guariente, who was responsible for the vocals. These groups aimed to contribute to the musical and cultural development of students through rehearsals, concerts, and recordings. Bayaka was founded in 2003 and brought together 45 musicians, resulting in the production of four albums. Omundô was created in 2006 having recorded an album in 2011. (SILVA and GUARIENTE, 2018) Considering the educational potential of these groups, the musical practices and the space for learning stand out both in the construction of arrangements, often collectively during rehearsals, and in the educational context provided by the study of the native peoples, as well as the presentations held with students (SILVA, 2008; SIQUEIRA, 2013) Thus, meaningful music education occurs when students' musical experiences are valued and respected in the teaching process (SWANWICK, 2003). The proposed musical practices lead the students to discover new possibilities of performance and creation based on the repertoire of other peoples, leading to a process of cultural democratization. (CAMPBELL, 2010) Thus, it is possible to affirm that the People's Music Project contributes to musical education as a meaningful experience.Keywords: People's Music, Music Education, Performance