This paper presents the project “Resonances: Professional Training, Teaching Practice, and Social Action”, developed by the Music Pedagogy area of the School of Music and the School of Social Communication at Universidad del Valle, Colombia, with support from Agrigento. The project is part of the professional training process of 22 undergraduate students in the Bachelor’s Degree in Music Education and explores how their pedagogical and community practices contribute to the construction of professional identity, social engagement, and transformative musical education. It emerges as a critical response to the rigid, performance-centered models that have historically shaped higher music education in Latin America—models that often neglect the social, pedagogical, and intercultural dimensions of musicianship.Through the creation of a short documentary, Resonances is conceived as both a research-creation exercise (López-Cano, 2024) and a process of professional reflection-in-action (Schön, 1983). It seeks to make visible the challenges and opportunities that diverse educational and community contexts pose to future music educators in their capacity to lead musical and social processes in contexts of high social complexity. These contexts include public schools, hospitals, indigenous ethnoeducational programs, organizations for people with disabilities, and community music initiatives for wellbeing.Music education students often face significant challenges in their teaching placements, including structural violence, inequality, limited institutional resources, and issues of mental health. However, through a model of accompaniment that integrates human, pedagogical, and technical dimensions, we have observed how these practices have become meaningful spaces for intercultural dialogue, community bonding, and the development of capabilities for human flourishing (Nussbaum, 2011). Moreover, these experiences foster recognition of alternative forms of musical education grounded in epistemologies of the Global South (Sousa Santos, 2009) and the emergence of creative and solidarity-based economies within communities.Positioned within the fields of social action through music (Baker, 2022), community music (Higgins, 2012), and participatory art (Matarasso, 2019), the project reveals how music education students are reimagining their professional role as community leaders, cultural managers, and socially committed artistic citizens (Elliott, Silverman & Bowman, 2016).Ultimately, Resonances highlights the need to expand music education beyond the conservatoire model, positioning artistic practice as a catalyst for educational innovation, intercultural dialogue, and social transformation in contemporary Latin American contexts.