The present research was aimed to study the musical creative processes of students through intentional use of rhythm, melody, tempo and dynamics (music elements) in arrangements, musical accompaniments, rhythmic and melodic ostinates (musical creation) in the school context. To understand the changes in music education and the school context in the 20th and 21st centuries, the reference authors were: Fonterrada (2008, 2011, 2014), Gainza (2011), Brito (2001, 2016, 2019), Beineke (2009 , 2012, 2015); Craft (2005); Craft, Cremin, Burnard and Chappel (2007); Burnard (2012) and Webster (2008, 2016ab). Vigotski's (1997, 2004, 2010, 2011, 2014) conceptions about intellectual disability, learning and development, and creativity and imagination in childhood and adolescence offered the theoretical substrate for understanding the musical creative processes of children. Regarding the method, we opted for case study research in the qualitative approach (CRESWELL, 2014; SAMPIERI, COLLADO, LUCIO, 2013), which made possible the detailed investigation of the study object. Eleven interventions (music classes) were carried out, each lasting for two class hours, in a municipal school in the city of Curitiba, Paraná, Brazil. The participants were eleven students of a Special Class, in which the permanence feature is transitory. Data were collected through semi-structured interviews with this study's participants, audiovisual documentation of the interventions and field diary. These interviews seeked for information to assist in the understanding of musical learning and development related to musical creation in the school context of this study's participants. The particularities of each participant were recorded on an observation agenda during the interventions. The activities developed were described with the aid of moving images (LOIZOS, 2012; ROSE, 2012). The discussion of the data was carried out in the light of Vigotski's historical-social theory, which pointed out that musical learning through active musical practice led participants to understand the elements of music studied here and enabled them to use them in musical creation activities in the school context. This is because the combinatorial creative activity takes place through the reworking of elements extracted from reality and previously experienced. In addition, the results indicated that the peer-to-peer and adult-peer interactions can trigger creative musical processes. It is noteworthy that often musical experiences must be maintained with the child so that the creative processes are encouraged.