With the advancement of cybernetics, more and more, digital technologies have been participating in the daily activities of people, including learning. Information on the most varied subjects of different areas of knowledge is available on the Internet and the Music field has been appearing as a field of research for knowledge construction. Electric guitar has been one of the most sought-after instruments for learning because of its popularity and modernity embedded since its inception, causing many learners to seek their learning from diverse sources of information, primarily sources of music learning mediated by digital technologies. The text is based on several theorists, who deal with the themes addressed in the work, among them I highlight: Morin (1999, 2000, 2003, 2015), Cernev (2013, 2015, 2016, 2018), Pequini (2016), Engel ), Beltrame (2014, 2016, 2017) and Vanzela (2016a, 2016b, 2018). In this sense, this research has as main objective to investigate, from the perspective of complexity, the musical learning mediated by digital technologies of guitarists of the UFRN extension course. In order to reach the main objective of this work, perpass for specific objectives that will serve as a guide to research, such as: 1-To know the musical trajectory of CIGE guitarists; 2-Identify what digital technologies are being used by guitarists to learn music; 3-Knowing how these technologies are being used by guitarists to structure their learning networks; 4-To understand how the guitarists configure their sources of learning in the construction of the musical knowledge; and 5-Describe how guitarists evaluate the use of digital technologies within the Extension Course. As a methodological process, I used a qualitative approach appropriating the Research-action method. For the construction of the research data I used as instruments: a semi-structured interview and a brief questionnaire via whatsapp, which was applied with five CIGE guitarists. Guitarists have shown throughout the research that they use various sources of learning to learn and configure in ways different from each learning but that have preferences in their sources. These preferences can be changed if the new technological sources give rise to other aspects in the musical learning, as well as from the construction of new knowledge, which in practice happens frequently. The construction of musical knowledge is a practice that changes depending on its sources and who organizes them, joining and separating, putting forward and bringing back, as well as embracing new formats in their learning network. This network of learning is the complexity in musical learning and what structures this network are the links between the different sources, which can be modified, amplified, separated, but always organized systemically in the process of knowledge construction. Digital technologies expand the possibilities for capturing information and modify the structures that are paired (the networks), because these resources alter the human cognitive, and in this way, allow the development of structures and dimensions different from the previous ones. Thus, digital technologies cause impacts and connections, breaks and reconciliations, departures and overlaps, permanent and instantaneous structural metamorphoses in the cognitive structure of the construction of musical knowledge.