Abstract : Having the movement as a constitutive element of the social dynamics, as from an ethnographic engagement, in this thesis I aim at describing routes and movements marked by the viola and rabeca circulation, as through the way they are made, their tuning, songs, verses and performances. It interests me to know how the configuration of these spaces of musical production are modelled according to the relations in which they are conditioned and established among people, and also among people and things, sounds and the ways that motivate their movements. In these routes, the musical making produces boundaries, both constituting and being constituted in these movements along the waters of the shore of Paraná and São Paulo. It is when they circulate and also when they make things circulate that violas and rabecas, and the musicality that is expressed by them, become meaningful and therefore potentialize themselves in this transit. In a specific experience of space, moving does not mean losing oneself in movements, but implies living specific pauses, unsteadiness, gaps, rhythms and cadencies similar to those experienced in the Fandangos and in the Divine Flag, places where I transited and also where I constituted directions and affections along an intense journey of field work. One of the aims of this thesis is to point at the transforming dimension of these movements, as founders of circulation dynamics, and observing the musical making in them as a potential vehicle of collectives and landscapes transformation. Therefore, because they are knowledge regimes mediated through the world of experience, in the caiçara musical making the native concept of experiment-making informs us about the multiples sensorialities involved in the practice, calling attention to technical gestures derived from the synergy of human actions in different movement nets that constitute multiple agencies. If in the time of the ranches this musicality mobilized domestic groups and neighborhood nets, in the cities it amplifies its acting space by producing and up to dating affection and consideration relations. In this environment, music creates narratives as through performances and poetics, but it also creates political potentialities as it constitutes itself in a resistance dispositive linking, thus, the population to their territory. Therefore, it is possible to announce the central argument of this thesis, where the presence and the movement of the violas and rabecas tell us in a radical way about other ways of existence, the perseverance of populations and collectives of ethnical-territorial basis, it involves resistance, opposition, defense and affirmation of their territories, it produces crossings, being, hence, ontological, as long as from the wood to the sound creates and recreates places, people and their socialities.