This panel explores conceptual, theoretical, and practical aspects of HausMusik Brazil Project : Family Recitals, from its foundation in 2007 until 2025. These socio-musical educational activities are based on studies of public and private spaces (Arendt, 1958), power networks (Foucault, 1989), dialogism (Bakhtin, 2011, 2012), everyday human interactions (Goffman, 1985), human manifestations and their symbols (Jung, 2002), and the relational potency of musical activity (Small, 1998).The project, of a voluntary nature, is organized within a collaborative economy framework through regional cores that promote musical recitals in family homes. These are scheduled flexibly and coordinated by a central management team that handles operational connections between artists and participating families. The project is structured around three pillars: (I) Activities, (II) Specificities, and (III) Materialities. During each event—Colloquia, Concerts, and Gatherings—an Affective Stage is established, a project-specific neologism, creating an environment of affection, interactivity, and inclusive diversity among participants.The panel includes five participants, plus the proposer, numbered #1 to #5 below, who present different perspectives on these actions within the community, with each presentation lasting approximately fifteen minutes. In the introduction, the proposer presents the conceptual and operational foundations of the project. The final fifteen minutes are reserved for a debate addressing questions and statements from participants as individuals, considered “expressive and speaking beings” (Bakhtin, 2011, p. 395) in a responsive discursive attitude toward the content presented.(#1) HausMusik, as “A Space for Family and Social Musical Learning,” exemplifies learning that occurs in these non-conventional spaces: affective, playful, and family-oriented environments where a wide variety of connections permeates the activity experienced, becoming a place for the transmission and acquisition of musical knowledge, which is transformed into knowledge itself (Dewey, 1976). Each edition of HausMusik Brazil promotes a network of musical learning and differentiated social spaces (Kraemer, 2000; Souza, 2009, 2023).(#2) The “Synchronicity of Subjectivity: Pianistic Practice at Home” addresses piano chamber music in its responsive synchronic movements. It highlights the intertwining of piano performance in ensemble playing in a synchronicity of mutual respect. On the home stage, the intrinsic subjectivity of each musical subject occurs in a “discreet” manner during the expressive control of the pianist, serving as a support and stabilizing agent in a single artistic expression (Brown, 2012).In this synchronicity, a differentiated musical dialogue occurs, connecting individualities and transcending the materiality of the notes in a vibrant exchange of intentions and emotions (Souza, 2014).(#3) The Collaborative Work with the Recorder Project from the Perspective of Motivation and Music of the Peoples presents the activities of HausMusik Brazil in partnership with recorder students and teachers. The application and analysis of results from a model of research on musical flow in family recitals confirm engagement and emotional autonomy in this affective environment. At HausMusik Brazil, the experience of musical flow, studied quantitatively, is confirmed through active audience listening and the creation of environments that favor the flow state—the moment when, for the performer, the chronological notion of time is surpassed and music becomes an extension of the self.(#4) The study “From Domestic Practice to Institutionalization” presents a historical perspective of domestic music as traditionally endogenous practice to exogenous practice in contemporary society. It begins by presenting the term hausmusik in its first public use (Standen, 1623). During the 17th and 18th centuries, the practice represented comprehensive musical formation (musikalische Bildung) (Omonsky & Philipsen, 2016). Over the centuries, it was experienced within specific family cores with their contextual idiosyncrasies. It identifies the practice within the family of Martin Luther (Leaver, 2007), Johann Sebastian Bach (Wollny, 2014), Leopold Mozart (Solomon, 1995), the Breuning family as emotional and intellectual support for Beethoven (Lockwood, 2003), Clara and Robert Schumann (Davies, 2007), Schubertiades (Youens, 1997; Solie, 2004), Sonntagsmusiken (Todd, 2010), the Biedermeier era (Hansen, 1985), Chopin’s Parisian exile (Eigeldinger, 1986), and the 20th century (Kater, 1997), until reaching contemporary practice within this project.(#5) The Experience Report on Extensionist Practice at the State University of Maringá (UEM) documents the implementation of these events within an academic institutional framework, highlighting the recovery of these actions as university extensions. It presents documents and testimonials, printed programs, materials, repertoire analysis, participating families and community groups, as well as the subjects and actors involved, from the project’s launch in 2012 up to 2025. It reports the scope of these actions reaching families in both urban and rural areas. The report serves as a memorial of these events, their integration into university policies, and their role as academic extension activities. Based on the studies presented and discussions initiated in this panel, it is expected that the practice can achieve even greater reach as an exogenous musical teaching activity in contemporary society; contributing to the strengthening of family identity, the promotion of musical educational activities, and fostering synergy and unity within the plural operational networks of the communities.