A Mixed-Method Study of Musicality Practices in Indigenous Peoples' Community: Curriculum Integration, Aptitude, and Study Engagement

ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 A Mixed-Method Study of Musicality Practices in Indigenous Peoples’ Community: Curriculum Integration, Aptitude, and Study Engagement Sherwin C. Yba˜ nez Abstract. This study examined the impact of Indigenous musicality practices and curriculum integration approaches on student engagement and cultural identity formation in Indigenous Peoples (IP) communities, employing a convergent parallel mixed methods design. Quantitative data were gathered through survey instruments administered to 65 participants, while qualitative data were collected via in-depth interviews with educators and community members. Results revealed that the integration of musicality practices—instrumental music, dance, and storytelling through music—was moderately extensive, while student engagement levels were notably high, particularly in relation to cultural interest and skills development. Curriculum integration through extracurricular and community-based programs was also assessed as moderately extensive. Although no statistically significant interaction effects were observed between musicality practices and curriculum integration, a moderate effect size indicated practical relevance. Qualitative findings underscored the cultural and pedagogical value of Indigenous musical practices, highlighting their role in cultural preservation, emotional expression, and social connection. Teachers expressed both strong support and challenges, including limited resources and training. The findings support the need for contextualized, culturally grounded education strategies that affirm identity and promote inclusive learning in Indigenous settings. KEY WORDS 1. Indigenous musicality 2. curriculum integration 3. cultural identity 4. convergent parallel mixed methods 5. Indigenous education Date Received: August 15, 2025 — Date Reviewed: September 20, 2025 — Date Published: October 10, 2025 1. Introduction Musical practices in Indigenous communities are vital expressions of identity, tradition, and collective memory. These include traditional songs, instrumental music, dance, and storytelling, which are essential in rituals, celebrations, and education. They reinforce cultural values and foster social cohesion and knowledge transmission. However, integrating these practices into elementary curricula presents challenges, as many educational systems struggle to incorporate Indigenous perspectives in a meaningful way. This disconnect hinders student engagement and reduces the relevance of education for Indigenous learners. Recognizing this need, there is a movement advocating for the inclusion of Indigenous musicality to enrich educational experiences, promote pride in Indigenous identity, and enhance student engage- NIJSE (2025) - ment. Valuing these practices, schools can create more inclusive environments that celebrate Indigenous cultures. As Western influences permeate Indigenous communities, younger generations may gravitate towards contemporary music, risking the loss of traditional practices vital to cultural identity. Musical practices in Indigenous communities are significant, as they express identity, spirituality, and a sense of belonging. They include traditional songs, performances, and dances rooted in Indigenous histories. These practices are crucial in rituals and celebrations, as they preserve cultural knowledge across generations. However, a significant challenge is the diminishing transmission of these practices due to globalization and modernization (Mabingo, 2022). Integrating Indigenous music in education varies by country, reflecting different levels of respect for Indigenous cultures. Some regions aim to incorporate Indigenous perspectives into mainstream education, thereby enhancing students’ cultural understanding and fostering a sense of pride. However, challenges include limited resources and inadequate educator training, which can result in the misrepresentation and superficial incorporation of Indigenous elements in the classroom. This gap hinders educational outcomes and engagement of Indigenous students (Kuoppam ¨ aki Vilmil ¨ a, 2024). Many countries recognize Indigenous rights and cultural preservation, but challenges remain in practical implementation. International frameworks like the United Nations Declaration on the Rights of Indigenous Peoples support Indigenous cultures, yet local implementation varies. A key issue is the insufficient collaboration between educational institutions and Indigenous communities in creating relevant curricula. Without respectful partnerships that honor Indigenous knowledge, musical practices may be sidelined, disconnecting students from their cultural identities in learning environments (Bannan, 2020). In the Philippines, the musical practices of Indigenous Peoples are integral to their cultural identity, featuring a diverse range of traditional songs, dances, and instruments. The Ifugao are known for their folk songs, which celebrate agriculture and rituals at communal gatherings. The Bontoc community has unique forms, such as the ”hudhud,” an epic chant recognized by UNESCO as an Intangible Cultural Heritage. However, rapid urbanization and mainstream media threaten traditional music, as younger generations are drawn to popular genres and digital platforms, risking the loss of crucial cultural expressions (da Silva Amorim, 2024). Across various regions, efforts to incorporate Indigenous musical practices into educational curricula are evident, but challenges remain. In Mindanao, for instance, programs like the Indigenous Peoples Education (IPEd) aim to integrate culturally relevant content into public schools, promoting the inclusion of local musical traditions in the curriculum. However, a significant challenge persists in Mindanao: teachers often lack adequate training and resources to deliver this content effectively. Many educators have limited exposure to Indigenous musical practices and may struggle to teach them authentically, resulting in an incomplete representation of cultural heritage in the classroom. This shortcoming hinders opportunities for engaging students and deepening Indigenous learners’ appreciation of their cultural backgrounds (Costa et al., 2024). The Philippine government has made pledges at the policy level to recognize and protect the rights of Indigenous Peoples, but the implementation is often inconsistent. In regions like Palawan, where the Tagbanua and Batak tribes reside, community-led efforts to safeguard their musical traditions have achieved some success. Nonetheless, a significant challenge remains: the insufficient collaboration between educational authorities and Indigenous communities in creating curricula that authentically represent Indigenous viewpoints. This gap often results in the marginalization of traditional 2ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - musical practices in academic settings, depriving students of a comprehensive understanding of their cultural heritage. Tackling these issues through sincere partnerships and inclusive policies is crucial for preserving Indigenous musical practices in the Philippines and incorporating them into the educational system, thereby instilling pride and identity in students (Eduardo Gabriel, 2024). In Marilog, Davao City, the musical traditions of the Indigenous Peoples, especially those of the Bagobo community, are essential for cultural identity and social unity. These communities honor their rich heritage through traditional songs and dances, including the Bagobo’s ”Kapa” dance, which embodies their deep connection to nature and spirituality. However, a significant issue in Marilog is the increasing influence of modern factors and the dwindling participation of younger generations in these time-honored practices. As exposure to popular culture increases through media and urban development, there is a growing concern that these musical traditions may become obscure or disappear. Efforts to incorporate these practices into educational environments are underway. Still, a significant hurdle persists in effectively training educators to teach these cultural aspects authentically, ensuring that Indigenous students maintain pride and connection to their heritage. Tackling this challenge is vital for safeguarding the musical traditions that are crucial to the cultural framework of the Indigenous communities in Marilog; thus, this paper was presented. 1.1. Review of Significant Literature— 1.1.1. Musicality Practices in Indigenous Communities—Musicality practices—including singing, instrumental play, dance, and storytelling—are central to Indigenous Peoples’ cultural identity, social cohesion, and intergenerational knowledge transmission. These practices extend beyond art, serving vital roles in rituals, education, and daily life (Harrison, 2020). Integrating them into schools fosters inclusivity, engagement, and pride in cultural heritage (Costes-Onishi Kwek, 2023). 1.1.2. Instrumental Music—Instruments such as drums and flutes embody history and values, serving as tools for storytelling and unity. In schools, instrumental music enhances creativity, collaboration, and cultural appreciation. However, challenges such as insufficient funding, limited resources, and lack of culturally responsive pedagogy remain (Foster Causby, 2024; Cronenberg et al., 2023). Online adaptations during the pandemic showed value but highlighted the preference for face-to-face instruction (Salvador et al., 2021). 1.1.3. Dance Integration—Dance complements music by transmitting traditions, values, and community identity. It strengthens social bonds and can serve as a democratic and empowering practice (Wise et al., 2020). Studies of Baima Tibetan folk songs and dances highlight their importance in cultural preservation and literacy education (Tang Sornyai, 2023). Anti-racist dance pedagogy further emphasizes the need to resist dominant Western frameworks and empower marginalized communities (Mabingo et al., 2024). 1.1.4. Storytelling through Music—Songs in Indigenous cultures preserve oral traditions, moral lessons, and historical narratives. In education, this practice fosters creativity, identity, and critical thinking. Teachers deepen engagement by situating music in historical and cultural contexts (Davis, 2022). However, barriers such as ableism in music education highlight ongoing inequities (Warren, 2023). Storytelling also supports social justice awareness and advocacy (Lewis Christophersen, 2021). 1.1.5. Curriculum Integration—Integrating Indigenous practices into mainstream curricula promotes inclusivity and holistic learning. In the Philippines, embedding Indigenous Knowledge Systems and Practices (IKSP) into the K–12 framework is seen as essential for cultural sensitivity and student empowerment 3ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - (Colicol, 2024). Beyond Indigenous contexts, music curricula should prioritize experiential approaches such as musicing for deeper engagement (Yi, 2022). 1.1.6. Extracurricular Activities—Music and arts activities beyond classrooms strengthen identity, teamwork, and creativity. They provide inclusive opportunities but often serve limited populations due to resource gaps (Karlsen et al., 2024). Youth engagement in music depends on supportive networks and regular opportunities (Kuoppam ¨ aki Vilmil ¨ a, 2024). Communitybased approaches, as in Madagascar and New York, show how cultural context and activism enrich musical engagement (Douglass, 2024; Tsui Williamson, 2023). 1.1.7. Community Engagement Programs—Programs linking schools with Indigenous communities provide authentic cultural experiences, validate student identities, and foster inclusivity. Effective engagement requires meaningful partnerships and actions beyond symbolic acknowledgments (Rushing Cumberland, 2024). Collaborative approaches in music schools demonstrate how reflection and community participation improve learning outcomes (Salvador et al., 2024; Benjamins et al., 2022). 1.1.8. Student Engagement and Attitudes— Culturally responsive music practices improve motivation, participation, and sense of belonging. Collective musical cognition—relevance, dialogue, and reflection—transforms pedagogy into a democratic and collaborative process (Pogonowski et al., 2023). Studies confirm that percussion groups, camps, and family partnerships enhance engagement and academic success (Costa et al., 2023; Morris Shockley, 2024; Culp Grimsby, 2024). 1.1.9. Skills Development in Music Education—Music education develops creativity, critical thinking, teamwork, emotional intelligence, and cultural pride. Professional development improves teacher confidence in musical instruction (Nieuwmeijer et al., 2023). Embedding social-emotional learning (SEL) in music further supports well-being (Varner, 2024). Early music experiences also strengthen literacy skills and emergent language development (Hooper, 2023). 1.1.10. Qualitative Insights and Roles of Musicality—Qualitative approaches capture educators’ and students’ lived experiences, emphasizing the emotional, cultural, and social dimensions of music in Indigenous contexts. Musicality practices reinforce identity, transmit values, and enrich education by making learning culturally relevant (Hill, 2022; Bannan, 2020). 1.1.11. Integration of Indigenous Musicality in Education—Embedding Indigenous music, dance, and storytelling into curricula preserves cultural heritage, enhances engagement, and fosters inclusivity. Yet, Indigenous knowledge often remains undervalued in formal education. Studies stress the need for intercultural dialogue, contextual understanding, and sustainability-focused integration (Da Silva et al., 2024; Druker-Ib ´ a ˜ nez C ´ aceres-Jensen, 2022). 1.2. Synthesis—The literature on musical practices in Indigenous Peoples’ communities reveals a rich tapestry of cultural significance intertwined with educational implications. Research consistently underscores the role of musical traditions as a vital expression of cultural identity, serving not only as a means of storytelling and community bonding but also as a vehicle for passing down knowledge and values to future generations. Studies highlight the effectiveness of integrating these musical practices into elementary school curricula, emphasizing their potential to enhance student engagement and foster a sense of belonging among Indigenous students. However, challenges remain in the pedagogical implementation of such culturally responsive practices, including the need for teacher training and curriculum development that genuinely reflect Indigenous perspectives. Furthermore, empirical evidence sug4ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - gests a positive correlation between musicality and academic outcomes, indicating that students exposed to culturally relevant education are more likely to demonstrate improved performance and engagement in the classroom. This body of literature collectively underscores the urgent need for further exploration into practical strategies for incorporating Indigenous musicality practices within educational frameworks, thereby advocating for a holistic approach to teaching that honors. It preserves Indigenous cultural heritage while promoting student success. 1.3. Theoretical Framework—The theoretical framework for this study was grounded in culturally responsive pedagogy and social constructivism, providing a dual lens through which to examine the integration of musicality practices in Indigenous Peoples’ communities into elementary school curricula. Culturally responsive pedagogy emphasizes the importance of recognizing and valuing students’ cultural backgrounds, advocating for teaching methods that resonate with their lived experiences and knowledge systems (Harrison, 2020). This approach aligns with the recognition that Indigenous musicality was not merely an art form but a vital expression of cultural identity and communal values. Simultaneously, social constructivism posits that learning was a socially situated process of co-constructing knowledge through interaction and collaboration. By applying these theoretical perspectives, this study explores how incorporating musical practices into the curriculum can enhance student engagement, facilitate more profound learning experiences, and promote cultural appreciation among students (Majula Kumar, 2024). The framework emphasizes the importance of integrating Indigenous knowledge into educational contexts and highlights the potential for creating transformative learning environments that respect and empower Indigenous voices. Figure 1 presents the conceptual framework of the study. The Convergent Parallel Analysis design will be integral to this mixed-methods study, enabling the simultaneous collection and analysis of both quantitative and qualitative data to explore the cultural significance of musical practices in Indigenous Peoples’ communities and their integration into elementary school curricula. This approach aligns with the theoretical framework, grounded in culturally responsive pedagogy and social constructivism, which emphasizes the importance of recognizing students’ cultural backgrounds and the social contexts in which they learn. By employing quantitative methods, such as surveys measuring student engagement levels influenced by different types of musicality practices and curriculum integration approaches, the study will quantitatively assess the extent to which these variables affect educational outcomes. Concurrently, qualitative methods, including interviews and focus groups with students, educators, and community members, will provide rich, contextual insights into the meanings and values associated with musical practices. This dual approach enhances the robustness of the research findings through triangulation, allowing for a deeper understanding of how musical practices can foster cultural identity and engagement in education. As the study progresses, combining quantitative results with qualitative insights will illuminate the complexities of integrating Indigenous musicality into educational settings, ultimately informing strategies for creating culturally responsive curricula that honor Indigenous heritage while promoting student success. This application of Convergent Parallel Analysis, framed by the theoretical perspectives of culturally responsive pedagogy and social constructivism, will ensure a comprehensive exploration of the educational implications of musicality practices in Indigenous communities. The independent variables (IVs) include Type of Musicality Practice (IV1) and Curriculum Integration Approach (IV2). The first IV encompasses various forms of musical expres5ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - Fig. 1. Conceptual Framework of the Study Using Convergent Parallel Analysis sion integral to Indigenous cultures, such as traditional songs, which convey history and values; instrumental music, utilizing traditional instruments to foster creativity; dance integration, exploring emotional engagement through movement; and storytelling through music, highlighting the educational potential of musical narratives. The second IV examines the methods of incorporating musicality practices into the curriculum, including a fully integrated curriculum that promotes interdisciplinary learning, a standalone music program for focused instruction, extracurricular activities that encourage community involvement, and community engagement programs that facilitate cultural exchange and experiential learning. The dependent variable (DV), Student Engagement Level, measures the degree of student involvement in learning related to musicality practices and cultural content. This DV includes participation rates in music-related activities, interest, and attitudes toward cultural subjects, academic performance in relevant subjects, and skills development, such as teamwork and creativity, resulting from engaging with musicality practices. 6ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - Through exploring the intricate relationships between these variables, the study aims to provide valuable insights into the educational implications of integrating Indigenous musicality practices into elementary education, framed within the theoretical perspectives of culturally responsive pedagogy and social constructivism. This comprehensive analysis will contribute to the development of effective strategies for creating culturally responsive curricula that honor Indigenous heritage while promoting student success. 1.4. Statement of the Problem—This study was conducted to examine the musicality practices of Indigenous Peoples (IP) communities and their cultural significance and integration into the elementary school curriculum in selected schools of Marilog District. Employing a convergent parallel mixed methods design, the study aimed to analyze the extent of musicality practices and the level of curriculum integration, as well as their effects on student engagement. The study specifically sought to answer the following research questions: (1) What is the extent of musical practices in Indigenous Peoples’ communities in terms of: (1) instrumental music, (2) dance integration, and (3) storytelling through music? (2) What is the extent of curriculum integration approaches in terms of: (1) extracurricular activities, and (2) Community engagement programs? (3) What is the level of student engagement in terms of: (1) interest and attitude towards cultural subjects, and (2) Skills development related to music education? (4) I s there a significant interaction effect between musicality practices and curriculum integration approaches on student engagement levels? (5) D o musicality practices and curriculum integration approaches significantly differ based on levels of student engagement? (6) W hat roles do musical practices play in shaping the cultural identity of Indigenous Peoples’ communities? (7) H ow do educators perceive the integration of Indigenous musicality practices into the elementary school curriculum? (8) I n what ways do Indigenous musicality practices influence student engagement and participation in school-based activities? 1.5. Hypotheses—To provide empirical evidence given the posed theoretical and conceptual frameworks as claimed by the study, the null hypothesis was tested at a 0.05 alpha level of significance, stating: To provide empirical evidence given the posed theoretical and conceptual frameworks as claimed by the study, null hypotheses were tested at a 0.05 alpha level of significance, stating: Null Hypothesis 1 (H0): There is no significant interaction effect between musicality practices and curriculum integration approach on student engagement levels; Null Hypothesis 2 (H0): Musicality practices and curriculum integration approaches do not significantly differ based on sustainable practices in schools. Learners This study holds significant importance for learners, particularly Indigenous students, as it enhances their cultural identity and engagement 7ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - in the educational process. By integrating musicality practices into the curriculum, students are provided with opportunities to connect with their heritage, fostering a sense of pride and belonging. The study aims to enhance student engagement levels, which can lead to improved academic performance and the development of social skills. Engaging with their cultural practices through music can also enrich their overall educational experience, making learning more relevant and meaningful. Teachers For educators, this study offers valuable insights into culturally responsive teaching strategies that can be applied in the classroom. By understanding the significance of musicality practices, teachers can create inclusive learning environments that respect and celebrate Indigenous cultures. This research can also provide teachers with practical methods for integrating music into their lesson plans, enhancing their pedagogical practices, and ultimately improving student engagement and learning outcomes. School Principal This study’s findings can help school principals foster a more inclusive school culture that values diversity and Indigenous perspectives. By understanding the importance of integrating musical practices, principals can advocate for curricular changes, allocate resources for music programs, and support teacher professional development. This research can inspire a new generation of scholars to delve deeper into the intersection of education and Indigenous cultures, fostering a more inclusive academic discourse. This study defined the terms of operation in nature to better understand and reference them when discussing the results in the preceding chapters. Musicality Practices Encompass musical expression and cultural activities vital to Indigenous communities. These traditions serve as artistic outlets and methods for passing down history, cultural values, and identity. Traditional songs serve as key narratives during rituals and celebrations, acting as storytelling mediums. Instrumental music featuring traditional instruments—such as drums and flutes—encourages creativity and cultural appreciation, allowing individuals to connect with their heritage. Dance often accompanies music, reflecting community stories and values, while fostering emotional bonds and physical engagement. Storytelling through songs teaches cultural lessons and promotes learning. Community events such as gatherings and workshops enhance collaboration and strengthen collective identity. Ultimately, musical practices are essential for artistic expression, education, and engagement among Indigenous Peoples, reinforcing identity and social ties. The Curriculum Integration Approach Incorporates Indigenous musical practices into elementary education through various methods. One method is the fully integrated curriculum, which embeds musical practices across subjects and fosters interdisciplinary connections to create a richer educational experience. Another is the standalone music program, which focuses on specific musical traditions, offering specialized knowledge and expertise. Extracurricular activities, such as clubs and performances, encourage collaboration and community involvement, thereby enhancing students’ sense of belonging. Additionally, community engagement programs partner with local Indigenous groups to provide experiential learning, enriching students’ understanding of musicality within cultural contexts. These approaches aim to create an inclusive education that honors Indigenous heritage and promotes meaningful connections between musical practices and student outcomes. This study defines student engagement as the extent to which students actively participate in their learning, particularly regarding the integration of Indigenous musical practices into the curriculum. It explores several dimensions of engagement, including participation rates, which measure students’ involvement 8ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - in music activities such as class attendance and performances. Higher rates reflect greater interest and commitment to learning through music. It also examines students’ interest and attitudes toward cultural subjects, assessed through surveys and interviews, to understand their connection to Indigenous musicality. Academic performance in music and culturally relevant subjects serves as another measure of engagement, with improved grades indicating the positive effects of integrating these practices. Additionally, skills development in teamwork, creativity, and critical thinking resulting from musical engagement is crucial for holistic growth. 2. Methodology This study investigates the integration of Indigenous musicality practices into elementary school curricula and their effects on student engagement. Using a mixed-methods approach, it collects both quantitative (surveys and assessments) and qualitative data (interviews and focus groups) to understand student experiences. The study employs a Convergent Parallel Analysis design, which facilitates simultaneous data collection and independent analysis, ultimately linking musicality practices with student engagement. This methodology emphasizes culturally responsive pedagogy and offers insights for educators and policymakers to enhance educational experiences for Indigenous learners. 2.1. Research Design—This study employed the Convergent Parallel Mixed Methods research design, as outlined by authors such as Creswell and Plano Clark (2018), which involves the simultaneous collection of quantitative and qualitative data to provide a comprehensive understanding of a research problem. This study employs a mixed-methods research design, specifically utilizing a Convergent Parallel Analysis approach to explore the integration of musicality practices from Indigenous Peoples communities into elementary school curricula and their effects on student engagement levels. The research aims to provide a holistic understanding of the subject by combining quantitative and qualitative methodologies. The quantitative component will involve structured surveys administered to students to gather data on their engagement levels, including metrics such as participation rates, academic performance, and attitudes toward cultural subjects. This data will be analyzed using statistical methods, such as two-way ANOVA, to identify relationships and differences among variables. Concurrently, qualitative data will be collected through semi-structured interviews and focus groups with students, teachers, and community members, allowing for an in-depth exploration of their perceptions and experiences related to musical practices. This dual approach enables the study to capture the breadth of student engagement quantitatively while delving into the nuanced, contextual factors that qualitatively influence these experiences. Ultimately, the mixed-methods design facilitates a comprehensive analysis of how Indigenous musicality practices can be effectively integrated into educational contexts, promoting meaningful connections between cultural heritage and student learning outcomes. 2.2. Ethical Considerations—The ethical consideration section of this study will address the key principles that ensure the protection and well-being of the teacher-respondents involved. This includes adhering to confidentiality, obtaining informed consent, and ensuring the voluntary nature of participation, thereby ensuring that the research is conducted with integrity and respect for the rights of all respondents. Social Value 9ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - be integrated during the interpretation process. This approach validates quantitative results with qualitative insights, enhancing understanding of how musical practices affect student engagement. If quantitative data indicate high engagement among students exposed to certain musical practices, qualitative data can provide further explanation, emphasizing the cultural relevance and emotional connections. This framework aims to provide a holistic view of the research, ensuring that both numerical data and personal narratives enrich the understanding of the educational landscape relating to Indigenous musicality practices. Data Analysis The study is purposely conducted to analyze a Mixed-Methods Study of musicality practices in Indigenous peoples’ communities: cultural significance and integration into elementary School curriculum. To answer statement problems 1, 2, 3, and 4, the Two-Way ANOVA will test for interaction effects between musicality practices and curriculum integration approaches on student engagement levels. A twoway ANOVA study would analyze the effects of musicality practices and curriculum integration approaches on student engagement levels. This approach enables the researcher to examine the primary effects of each independent variable and any potential interaction effects between them. Post-hoc tests are essential in this study, particularly after conducting a Two-Way ANOVA, to further investigate the differences among group means when significant effects are found. Given that the study examines the effect of musicality practices and the curriculum integration approaches on student engagement level, post-hoc tests allow for a deeper understanding of how specific combinations of these independent variables influence outcomes. Thematic analysis was used to identify common themes and patterns in interview and focus group data. Quantifying the frequency of themes or sentiments provided a broader understanding of the qualitative findings, combining quantitative and qualitative data to offer a comprehensive view. All data processing and analysis were performed using Jeffrey’s Statistics Amazing Program (JASP) version 0.12.20. When results were yielded, discussions and interpretations followed. 3. Results and Discussion This chapter presents the findings of the study on the musicality practices of Indigenous Peoples communities and their integration into the elementary school curriculum within the Marilog District. The results are organized and interpreted in alignment with the specific statements of the problem, utilizing both quantitative and qualitative data. Quantitative results derived from descriptive statistics and inferential analyses, particularly Two-Way ANOVA, are used to assess the extent of musicality practices, curriculum integration approaches, and their interaction effects on student engagement. Meanwhile, qualitative data obtained through interviews and document analysis are thematically examined to provide deeper insight into the cultural significance of musical practices, educators’ perceptions, and the influence of these practices on student participation. The integration of these data sources offers a comprehensive understanding of how Indigenous musical traditions can enrich educational experiences and support culturally responsive teaching. 3.1. Extent of Indigenous Musical Practices—Indigenous musical practices encompass the traditional musical expressions and cultural practices of Indigenous communities, transmitted through generations via oral traditions, rituals, and communal activities. These practices often involve unique instruments, vocal techniques, and performance contexts that are inte16 ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - gral to the community’s cultural identity and social cohesion. Recent studies have highlighted the significance of these practices in preserving cultural heritage and fostering community resilience. For instance, a systematic literature review by Izu (2024) emphasizes the role of oral traditions in sustaining African Indigenous musical cultures, noting that these traditions are vital for the preservation and transformation of Indigenous musical practices. In the context of education, integrating Indigenous musical practices into curricula has been shown to enhance cultural awareness and inclusivity. The International Society for Music Education’s Special Interest Group on Decolonizing and Indigenizing Music Education advocates for the inclusion of Indigenous perspectives in music education, promoting research and partnerships that respect and incorporate Indigenous knowledge systems. 3.1.1. Instrumental Music—Table 1 presents an analysis of the extent to which Indigenous musical practices, specifically instrumental music, are integrated into classroom instruction. The data, collected from 65 participants, indicate a ”Moderately Extensive” integration across all five evaluated items, with mean scores ranging from 3.03 to 3.18. The overall mean score of 3.10 suggests a consistent, albeit moderate, incorporation of instrumental music in educational settings. The highest-rated item, ”Students who participate in instrumental music activities show improved focus and concentration during lessons” (Mean = 3.18), underscores the perceived cognitive benefits of musical engagement. Table 1. Extent of Indigenous Musical Practices in terms of Instrumental Music No Instrumental Music n Mean Descriptive Interpretation 1 Incorporating instrumental music into lessons significantly increases student participation during class activities. 65 3.12 Moderately Extensive 2 Students demonstrate a higher level of enthusiasm and interest in learning when instrumental music is integrated into the curriculum. 65 3.03 Moderately Extensive 3 The use of traditional instruments in classroom activities fosters collaboration and teamwork among students. 65 3.04 Moderately Extensive 4 Instrumental music helps to create a more engaging and enjoyable learning environment for students. 65 3.13 Moderately Extensive 5 Students who participate in instrumental music activities show improved focus and concentration during lessons. 65 3.18 Moderately Extensive Mean Average 65 3.10 Moderately Extensive This aligns with findings by Faruq and Khairul ´ Azmi (2023), who reported that background music can enhance students’ attention and learning outcomes in classroom environments. Similarly, the item ”Instrumental music helps to create a more engaging and enjoyable learning environment for students” (Mean = 3.13) reflects the role of music in fostering a positive classroom atmosphere. This is corroborated by research from the Center for Early Childhood Education, which highlights the contribution of music to children’s social-emotional development and overall classroom engagement. The item ”The use of traditional instruments in 17 ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - classroom activities fosters collaboration and teamwork among students” (Mean = 3.04) emphasizes music’s role in promoting cooperative learning. This is supported by studies indicating that collaborative learning strategies, including group musical activities, enhance students’ social interactions and academic performance. The consistent ”Moderately Extensive” ratings across all items suggest that while Indigenous instrumental music is present in the curriculum, there is room for deeper integration. Enhancing the use of traditional instruments and musical activities could further support student engagement, cognitive development, and cultural appreciation. 3.1.2. Dance Integration—Table 2 presents the extent of Indigenous musical practices in terms of dance integration, based on responses from 65 participants. The mean scores range from 3.10 to 3.63, with an overall average of 3.38, indicating a ”Moderately Extensive” integration of dance activities in educational settings. Table 2. Extent of Indigenous Musical Practices in terms of Dance Integration No Dance Integration n Mean Descriptive Interpretation 1 Integrating dance activities into lessons enhances student participation during class. 65 3.10 Moderately Extensive 2 Students exhibit greater enthusiasm and motivation when dance is incorporated into the curriculum. 65 3.32 Moderately Extensive 3 Dance integration encourages students to express themselves creatively in the classroom. 65 3.60 Extensive 4 Incorporating dance into educational activities promotes teamwork and cooperation among students. 65 3.27 Moderately Extensive 5 Students who engage in dance activities demonstrate improved focus and attentiveness during lessons. 65 3.63 Extensive Mean Average 65 3.38 Moderately Extensive Notably, the highest mean score (3.63) corresponds to the statement: ”Students who engage in dance activities demonstrate improved focus and attentiveness during lessons,” suggesting a substantial positive impact of dance on students’ concentration. Similarly, the statement ”Dance integration encourages students to express themselves creatively in the classroom” received a high mean score of 3.60, highlighting the role of dance in fostering creativity. These findings align with recent studies that emphasize the benefits of integrating dance in education. For instance, Parcon (2024) found that incorporating dance into the MAPEH curriculum in the Philippines significantly enhanced student engagement and participation. Additionally, Puspitaloka et al. (2024) reported that project-based learning models in dance education improved student collaboration and engagement in Indonesian middle schools. Furthermore, a study by the National Dance Education Organization (2025) indicated that integrating dance into PreK-12 curricula enhances student engagement and learning outcomes. 3.1.3. Storytelling through Music—Table 3 presents the extent of Indigenous musical practices in terms of storytelling through music, based on responses from 65 participants. 18 ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - The mean scores range from 2.92 to 3.27, with an overall average of 3.08, indicating a ”Moderately Extensive” integration of musical storytelling in educational settings. Notably, the highest mean score (3.27) corresponds to the statement: ”Students demonstrate increased creativity and imagination when engaged in storytelling through music,” suggesting a substantial positive impact on students’ creative development. Similarly, the statement ”Storytelling through music encourages students to participate actively in discussions and activities” received a mean score of 3.15, highlighting the role of musical narratives in fostering student engagement. Table 3. Extent of Indigenous Musical Practices in terms of Storytelling through Music No Storytelling through Music n Mean Descriptive Interpretation 1 Using storytelling through music in lessons enhances student interest and engagement during class activities. 65 2.92 Moderately Extensive 2 Students are more likely to remember lessons when stories are conveyed through musical narratives. 65 3.06 Moderately Extensive 3 Storytelling through music encourages students to participate actively in discussions and activities. 65 3.15 Extensive 4 Incorporating musical storytelling into the curriculum fosters emotional connections to the subject matter. 65 2.98 Moderately Extensive 5 Students demonstrate increased creativity and imagination when engaged in storytelling through music. 65 3.27 Extensive Mean Average 65 3.08 Moderately Extensive These findings align with recent studies emphasizing the benefits of storytelling through music in education. For instance, a study by Mariguddi (2024) explored the professional lives of music educators through storytelling, revealing that narrative approaches can enhance teaching practices and student engagement. Additionally, research by Tuveri et al. (2024) demonstrated that integrating storytelling and theatrical techniques in teaching complex physics topics improved student interest and understanding, suggesting the effectiveness of narrative methods across disciplines. Furthermore, the use of digital musical storytelling has been shown to enhance students’ listening skills and engagement. A study by Yusof et al. (2023) found that incorporating digital storytelling in music education increased students’ interest and participation, supporting the integration of technology in narrative-based learning. 3.1.4. Summary of the Extent of Indigenous Musical Practices—Table 4 presents a consolidated summary of the extent to which Indigenous musical practices are implemented in selected elementary schools in Marilog District, focusing on three domains: instrumental music, dance integration, and storytelling through music. The data, collected from 65 respondents, provide a comparative overview of how each musical component is perceived in terms of its integration into educational activities. 19 ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - Table 4. Extent of Indigenous Musical Practices (Summary of Averages) No Extent of Indigenous Musical Practices n Mean Descriptive Interpretation 1 Instrumental Music 65 3.10 Moderately Extensive 2 Dance Integration 65 3.38 Moderately Extensive 3 Storytelling through Music 65 3.08 Extensive Mean Average 65 3.18 Moderately Extensive The highest mean score is observed for Dance Integration (M = 3.38), interpreted as ”Moderately Extensive”, suggesting that dance is the most widely adopted form of Indigenous musical practice in the classroom. This may be attributed to the interactive and collaborative nature of dance, which aligns well with the physical and communal learning preferences of students in culturally-rich communities. Instrumental Music (M = 3.10) and Storytelling through Music (M = 3.08) are also rated as ”Moderately Extensive”, though slightly lower. Despite being close in value, storytelling through music exhibits more interpretative variability, possibly reflecting differing teacher competencies or the availability of resources to facilitate music-based narratives in class. The overall mean score of 3.18 indicates that Indigenous musical practices are moderately integrated into the elementary curriculum. While promising, this suggests potential areas for expansion, particularly in developing structured lesson plans, instructional materials, and professional development programs tailored to Indigenous cultural elements 3.2. Extent of Curriculum Integration Approaches—Curriculum Integration Approaches refer to educational strategies that transcend traditional subject boundaries to create more cohesive and meaningful learning experiences. These approaches aim to connect various disciplines, fostering a holistic understanding and promoting the application of knowledge in real-world contexts. Curriculum integration can take multiple forms, including multidisciplinary, interdisciplinary, and transdisciplinary approaches. Multidisciplinary integration involves teaching a theme across different subjects without necessarily connecting the disciplines. Interdisciplinary integration blends subjects to create a unified learning experience, while transdisciplinary integration transcends traditional subject boundaries, focusing on realworld problems and student inquiry. 3.2.1. Extracurricular Activities—Table 5 presents the extent of curriculum integration approaches in terms of extracurricular activities, based on the responses of 65 participants. The results reveal that the overall integration of extracurricular activities is moderately extensive, with a computed mean of 3.07. Among the items, the highest mean score was recorded for the statement, “Students who participate in extracurricular activities show improved social skills and teamwork during class activities”(M = 3.36), interpreted as extensive. This finding highlights the importance of extracurricular engagement in fostering students’ interpersonal relationships and cooperative behaviors. Similarly, the item “Extracurricular programs provide students with opportunities to apply skills learned in the classroom in a realworld context” (M = 3.06) was also rated as extensive, highlighting the experiential learning benefits of co-curricular involvement. On the 20 ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - Table 5. Extent of Curriculum Integration Approaches in terms of Extracurricular Activities No Extracurricular Activities n Mean Descriptive Interpretation 1 Participation in extracurricular activities enhances student motivation and interest in academic subjects. 65 2.96 Moderately Extensive 2 Students who engage in extracurricular activities demonstrate higher levels of engagement in the classroom. 65 2.95 Moderately Extensive 3 Extracurricular programs provide students with opportunities to apply skills learned in the classroom in a real-world context. 65 3.06 Extensive 4 Involvement in extracurricular activities fosters a sense of belonging and community among students. 65 3.00 Moderately Extensive 5 Students who participate in extracurricular activities show improved social skills and teamwork during class activities. 65 3.36 Extensive Mean Average 65 3.07 Moderately Extensive other hand, lower but still moderately extensive ratings were given to statements involving motivation (M = 2.96) and classroom engagement (M = 2.95), suggesting that while benefits are evident, structured alignment with classroom instruction could still be improved. These findings align with recent empirical studies. For instance, Barkley and Torres (2023) reported that extracurricular participation fosters socialemotional learning, contributing to enhanced classroom dynamics. Chang, Huang, and Lee (2022) emphasized that co-curricular integration strengthens applied learning and academic engagement. Likewise, Rizwan and Akhter (2021) confirmed that extracurricular activities have a positive impact on both academic performance and student personality development. Together, these studies affirm that meaningful integration of extracurricular activities plays a pivotal role in promoting holistic education. 3.2.2. Community Engagement Programs—Table 6 presents the extent of curriculum integration approaches in terms of community engagement programs, based on responses from 65 participants. The overall mean score is 3.08, interpreted as ”Moderately Extensive”, indicating a substantial incorporation of community engagement initiatives within the educational framework. Among the items, the highest mean score (M = 3.20) corresponds to the statement: “Involvement in community engagement programs fosters a sense of responsibility and civic engagement among students,” interpreted as ”Extensive”. This suggests that such programs effectively cultivate students’ civic consciousness and responsibility. This finding aligns with the study by Angwaomaodoko (2024), which emphasizes the role of student-led initiatives in promoting civic engagement and societal change. Another item with a high mean score (M = 3.10) is: “Students demonstrate greater enthusiasm and motivation in school when involved in community engagement programs,” also interpreted as ”Extensive”. This indicates that participation in community activities enhances students’ motivation and enthusiasm for learning. Li and Rahman (2024) support this, high21 ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - Table 6. Extent of Curriculum Integration Approaches in terms of Community Engagement Programs No Community Engagement Programs n Mean Descriptive Interpretation 1 Participation in community engagement programs enhances students’ interest in learning about their cultural heritage. 65 3.09 Moderately Extensive 2 Community engagement activities help students feel more connected to their local community and its traditions. 65 3.01 Moderately Extensive 3 Students demonstrate greater enthusiasm and motivation in school when involved in community engagement programs. 65 3.10 Extensive 4 Community partnerships provide valuable realworld experiences that enhance students’ understanding of academic content. 65 3.03 Moderately Extensive 5 Involvement in community engagement programs fosters a sense of responsibility and civic engagement among students. 65 3.20 Extensive Mean Average 65 3.08 Moderately Extensive lighting that community involvement and service learning significantly boost student engagement and learning within local cultural contexts. The remaining items, with mean scores ranging from 3.01 to 3.09, are interpreted as ”Moderately Extensive”, reflecting consistent recognition of the benefits of community engagement in enhancing students’ connection to their cultural heritage and local community. These findings are corroborated by Maples et al. (2024), who found that preservice teachers perceive community engagement efforts as valuable in fostering connections between educational content and community experiences. 3.2.3. Summary of the Extent of Curriculum Integration Approaches—Table 7 presents a summary of the extent to which curriculum integration approaches are implemented in the selected schools, with a focus on extracurricular activities and community engagement programs. The results, based on the responses of 65 participants, indicate that both approaches are perceived to be moderately extensive, with a mean score of 3.07 for extracurricular activities and 3.08 for community engagement programs, resulting in an overall mean of 3.07. These findings suggest a consistent and structured but not yet fully optimized application of integrative practices within the school curriculum. Table 7. Extent of Curriculum Integration Approaches No Extent of Curriculum Integration Approaches n Mean Descriptive Interpretation 1 Extracurricular Activities 65 3.07 Moderately Extensive 2 Community Engagement Program 65 3.08 Moderately Extensive Mean Average 65 3.07 Moderately Extensive 22 ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - The slightly higher rating of community engagement programs (M = 3.08) reflects the growing emphasis on connecting classroom learning with real-life cultural and civic experiences. As supported by Li and Rahman (2024), community engagement fosters contextual learning and strengthens students’ connections to their heritage and environment. Similarly, the integration of extracurricular activities (M = 3.07) reflects their recognized contribution to holistic development, supporting findings by Rizwan and Akhter (2021), who emphasized that these programs enhance not only academic performance but also social and emotional skills. Overall, the moderate level of curriculum integration captured in Table 7 implies that while schools acknowledge and implement these approaches, there remains an opportunity to deepen integration and align them more explicitly with instructional goals and learner outcomes. Future efforts may focus on capacity building for teachers, resource provision, and curriculum design reforms to ensure these programs have the most significant impact. 3.3. Level of Student Engagement—Student engagement is widely recognized as a crucial construct in educational research and practice, encompassing the extent to which students are involved in their learning processes both inside and outside the classroom. It is a multidimensional concept that includes behavioral, emotional, and cognitive dimensions. Behavioral engagement refers to students’ participation in academic tasks, school activities, and classroom interactions, often reflected through consistent attendance, attentiveness, and effort. Emotional engagement involves students’ affective responses to teachers, peers, and learning experiences, such as feelings of interest, belongingness, and enthusiasm. Cognitive engagement pertains to the mental effort students invest in learning, including their use of metacognitive strategies and desire to master complex ideas. Recent studies reinforce the critical role of engagement in educational success. Reeve and Lee (2021) emphasized the influence of classroom autonomy and teacher support on student engagement. Oga-Baldwin and Fryer (2022) identified a strong longitudinal connection between intrinsic motivation and sustained engagement across academic years. Furthermore, Murray and Hern ´ andez (2023) demonstrated that culturally responsive teaching practices significantly elevate student engagement in Indigenous classrooms by integrating community values and traditional knowledge into the curriculum. 3.3.1. Interest and Attitude toward Cultural Subjects—Table 8 presents the extent of student engagement concerning interest and attitude toward cultural subjects, based on responses from 65 participants. The overall mean score is 4.20, interpreted as ”Moderately Extensive”, indicating a substantial level of engagement among students in cultural subjects. Among the items, the highest mean score (M = 4.29) corresponds to the statement: “Understanding cultural topics is considered important for overall education and personal growth,” interpreted as ”Extensive”. This suggests that students recognize the significance of cultural education in their academic and personal development. Similarly, the item “Participation in discussions and activities related to cultural subjects is motivated and encouraged” (M = 4.26) also received an ”Extensive” rating, highlighting active student involvement in cultural learning experiences. These findings align with recent studies emphasizing the role of culturally responsive teaching in enhancing student engagement. Anyichie et al. (2023) demonstrated that integrating culturally responsive teaching practices with self-regulated learning strategies 23 ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - Table 8. Extent of Level of Student Engagement in terms of Interest and Attitude toward Cultural Subjects No Interest and Attitude toward Cultural Subjects n Mean Descriptive Interpretation 1 Cultural subjects are found to be interesting and enjoyable in the classroom. 65 4.16 Extensive 2 Learning about different cultures enhances appreciation for diversity and inclusion. 65 4.15 Extensive 3 Participation in discussions and activities related to cultural subjects is motivated and encouraged. 65 4.26 Very Extensive 4 Cultural subjects inspire exploration of one’s own cultural heritage and identity. 65 4.12 Extensive 5 Understanding cultural topics is considered important for overall education and personal growth. 65 4.29 Very Extensive Mean Average 65 4.20 Very Extensive significantly boosts motivation and engagement among culturally diverse learners. Additionally, research by Haider et al. (2024) found that students’ perceptions of culturally sensitive curricula are positively correlated with their interest and engagement levels. Overall, the data in Table 8 underscore the importance of incorporating cultural content into the curriculum to foster student interest and engagement. By recognizing and validating students’ cultural backgrounds, educators can create more inclusive and motivating learning environments. 3.3.2. Skills Development Related to Music Education—Table 9 presents the extent to which music education contributes to the development of various student skills, based on responses from 65 participants. The overall mean score is 4.04, interpreted as ”Extensive”, indicating a significant positive impact of music education on students’ skill development. The highest-rated item is: “Engagement in music education enhances creativity and self-expression in students” (M = 4.21), categorized as ”Very Extensive”. This suggests that music education plays a vital role in developing students’ creative abilities and fostering their self-expression. This finding aligns with the study by Zhan (2025), which highlights that music education not only cultivates artistic proficiency but also significantly enhances students’ creativity and emotional expression. The item “Music education fosters critical thinking and problem-solving abilities in students” (M = 4.06) is rated as ”Extensive”, indicating that music education contributes to the development of higher-order thinking skills. This is supported by research from Marks and Seidel (2021), who found that participation in virtual ensemble projects during the COVID-19 pandemic enhanced students’ adaptability and problem-solving skills. Additionally, “Students demonstrate increased confidence in their abilities through participation in music programs” (M = 4.01) is also rated as ”Extensive”, suggesting that music education boosts students’ self-confidence. This is corroborated by Zhan’s (2025) study, which reports that music education helps increase students’ self-confidence and empathy, aiding their social adaptation. The items “Music education contributes to the development of teamwork skills among students” (M 24 ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - Table 9. Extent of Level of Student Engagement in terms of Skills Development Related to Music Education No Skills Development Related to Music Education n Mean Descriptive Interpretation 1 Music education contributes to the development of teamwork skills among students. 65 3.98 Moderately Extensive 2 Engagement in music education enhances creativity and self-expression in students. 65 4.21 Very Extensive 3 Participating in music activities improves discipline and focus during lessons. 65 3.96 Moderately Extensive 4 Music education fosters critical thinking and problem-solving abilities in students. 65 4.06 Extensive 5 Students demonstrate increased confidence in their abilities through participation in music programs. 65 4.01 Extensive Mean Average 65 4.04 Extensive = 3.98) and “Participating in music activities improves discipline and focus during lessons” (M = 3.96) are both rated as ”Moderately Extensive”, indicating that music education supports the development of collaborative skills and concentration. These findings are consistent with the research by Zhan (2025), which emphasizes that music education enhances students’ teamwork and communication abilities. 3.4. Significant interaction Effect between Musicality Practices and Curriculum Integration Approaches on Student Engagement Levels —Table 10 presents the results of a Two-Way ANOVA analysis exploring the interaction effect between musicality practices (IV1 Category) and curriculum integration approaches (IV2 Category) on student engagement levels (DV: AVE). The analysis utilized Type III sum of squares due to the unequal group sizes and interaction structure. The main effect of musicality practices was not statistically significant, F(2,56) = 1.811 , p=.173 , η2=.053 , indicating that differences in the level of musicality practices (high, moderate, low) did not independently result in a statistically significant difference in student engagement. Similarly, the main effect of curriculum integration approaches was also not statistically significant, F(2,56)=0.494 , p=.613 , η2=.014. Interestingly, the interaction effect between musicality practices and curriculum integration approaches approached significance, F(4,56) = 2.050 , p=.100 , η2=.119 . While this value does not meet the conventional alpha threshold ( p< .05 ), the effect size ( η2=.119 ) suggests a moderate interaction effect, meaning there is practical relevance worth further investigation, particularly in qualitative follow-ups. The descriptive statistics indicate generally high engagement scores across all group combinations, with mean values ranging from 3.733 to 4.357. The highest student engagement was observed in the group with high musicality practices and low curriculum integration (M = 4.357, SD = 0.215), whereas the lowest was in the moderate-moderate group (M = 3.733, SD = 0.462). These findings suggest that specific combinations, particularly high musicality practices regardless of integration level, may elevate student engagement. 25 ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - value contextualized curriculum and community immersion, they are constrained by limited training, resources, and cultural familiarity, indicating a gap between their intent and actual implementation. The level of student engagement, as influenced by exposure to Indigenous musicality, was found to be high. In particular, student interest and attitudes toward cultural subjects received a mean of 4.20, while skills development related to music education scored 4.04. These findings suggest that students are highly engaged when culturally relevant musical practices are integrated into their learning experiences. Qualitative data corroborated this, with educators observing increased creativity, participation, confidence, and collaboration among learners. The interaction effect between Indigenous musicality practices and curriculum integration approaches on student engagement levels, based on Two-Way ANOVA results, was not statistically significant (p = 0.100). However, the effect size (² = 0.119) indicated a moderate practical influence, suggesting that specific combinations of high musicality and strong curriculum integration may still enhance engagement. This finding suggests the potential value of simultaneous implementation, even if definitive statistical confirmation is not yet available. Musicality practices and curriculum integration approaches did not significantly differ when analyzed independently in terms of their effect on student engagement levels, as shown by non-significant main effects in the Two-Way ANOVA results (p ¿ .05). Nevertheless, descriptive statistics pointed to variations in engagement levels across different group combinations, highlighting the importance of context in interpreting these relationships. Educators and community members perceived musicality practices as vital tools in shaping cultural identity among Indigenous learners. Participants emphasized their role in cultural preservation, community cohesion, and affirming their identity. Statements like “it brings back the rich history of the IP group” reflect a deep sense of cultural continuity supported by traditional music education. Educators viewed the integration of Indigenous musicality practices into the curriculum as essential but challenging, citing the need for contextualized teaching, authentic community involvement, and immersion-based learning experiences. Challenges included a lack of appropriate instruments, insufficient training in Indigenous rhythms and dialects, as well as limited exposure to IP cultural practices. Indigenous musicality practices were found to have a positive influence on student engagement and participation, as students demonstrated increased confidence, motivation, and enjoyment during musical activities. Teachers noted improvements in collaboration, communication, and emotional expression, which aligned with the high quantitative scores on engagement measures. 4.2. Conclusions—Based on the integration of quantitative and qualitative findings, the following conclusions are drawn: Moderate Implementation with Deep Cultural Impact Indigenous musicality practices, including instrumental music, dance, and storytelling, are moderately integrated into classroom instruction. However, their cultural and identityforming value are substantial, as they sustain heritage, strengthen pride, and foster intergenerational continuity among Indigenous Peoples communities. Curriculum Integration is Valued but Constrained Both extracurricular and community engagement programs are moderately applied in schools. While educators recognize the importance of curriculum contextualization and community immersion, their efforts are limited by a lack of training, resources, and exposure to Indigenous Peoples’ (IP) culture, which affects the authenticity and consistency of implementation. 32 ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - High Student Engagement through Culturally Responsive Practices Student engagement levels were found to be high, particularly in terms of interest in cultural subjects and skills development through music. Musical practices encourage participation, boost self-confidence, and foster collaboration, thereby validating the pedagogical effectiveness of Indigenous cultural content. No Significant Statistical Interaction, but Practical Relevance Evident The interaction between musicality practices and curriculum integration approaches did not yield a statistically significant effect on student engagement. However, a moderate effect size indicates practical implications, suggesting that when both practices are well-aligned, they may enhance learning experiences more than when applied in isolation. Educators and Community Stakeholders Recognize The Transformative Role of Music Indigenous musical practices are perceived not only as instructional tools but as vehicles for cultural survival, emotional expression, and social connection. Teachers, learners, and elders affirm the role of music in preserving community values and motivating learners. 4.3. Recommendations—Based on the above conclusions, the following recommendations are proposed: Enhance Teacher Training and Cultural Competence The Department of Education and local school divisions may develop and implement targeted in-service training focused on Indigenous musical forms, dialects, and cultural practices. Collaboration with IP elders and cultural experts should be institutionalized to ensure authenticity. Provide Adequate Resources and Instruments Schools in Indigenous communities should be provided with culturally appropriate musical instruments, materials, and documentation. Partnerships with local artisans, culture bearers, and local government units (LGUs) can support the production and dissemination of these resources. Formalize Community-Based Curriculum Integration Encourage schools to adopt community immersion and partnership models for integrating their curriculum. This includes inviting IP elders into classrooms, organizing cultural music performances, and aligning school programs with community cultural calendars. Strengthen Research on Cultural Pedagogy and Student Outcomes Future studies should investigate the longitudinal impacts of cultural musical integration on student identity, resilience, and academic performance. Mixed methods and participatory action research should be employed to elevate community voices and co-develop solutions. Institutionalize Music-Culture Alignment in Policy Frameworks The results support the call to mainstream Indigenous music and cultural practices into the national curriculum policy, ensuring their sustainability and recognition as essential to inclusive education. 5. References Anyichie, A. C., & Butler, D. L. (2023). Examining culturally diverse learners’ motivation and engagement during a complex learning task integrating culturally responsive teaching and self-regulated learning practices. Frontiers in Education. https://www.frontiersin.org/ articles/10.3389/feduc.2023.1041946/full 33 ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - Bannan, N. (2020). Evolutionary psychology and the necessity for music education for all. Australian Journal of Music Education,53(2), 13–18. https://files.eric.ed.gov/fulltext/ EJ1272336.pdf Barkley, M. E., & Torres, J. R. (2023). The influence of extracurricular participation on adolescent social-emotional development: Evidence from middle schools. Journal of Youth and Adolescence Studies,18(2), 112–125. https://doi.org/10.1177/0894845323111593 Benjamins, L., Roland, S. L., & Bylica, K. (2022). The complexities of meaningful experiential learning: Exploring reflective practice in music performance studies. International Journal of Music Education,40(2), 163–176. https:/ /doi. org /http :// dx.doi .org /10. 1177/ 02557614211043224 Chang, C. Y., Huang, T. Y., & Lee, W. Y. (2022). Linking co-curricular engagement with academic performance: The mediating role of applied learning skills. International Journal of Educational Development,91. https://doi.org/https://doi.org/10.1016/j.ijedudev.2022. 102605 Colicol, A. (2024). Bridging the digital divide: Indigenous students and educational access in remote communities [Doctoral dissertation]. Colicol, F. L. (2024). Pragmatism as basis of the integration of indigenous knowledge systems and practices in the philippine k-12 indigenous peoples education program: Problematizing and ways forward. Educational Philosophy and Theory,56(10), 1021–1033. https://doi. org/https://dx.doi.org/10.1080/00131857.2024.2348807 Costa, M., Cruz, I., Martins, F., Ver ´ ıssimo, L., & Castro, I. (2023). Extracurricular music activities in school and school engagement: Students’ and teachers’ perspective. Qualitative Research in Education,12(1), 52–80. https://files.eric.ed.gov/fulltext/EJ1382697.pdf Costes-Onishi, P., & Kwek, D. (2023). Inquiry-based learning in music: Indicators and relationships between key pedagogical practices and the quality of critical thinking. Research Studies in Music Education,45(2), 362–378. https://doi.org/http://dx.doi.org/10.1177/ 1321103X211057457 Creswell, J. W., & Creswell, J. D. (2018). Research design: Qualitative, quantitative, and mixed methods approaches (5th ed.) Sage Publications. Creswell, J. W., & Plano Clark, V. L. (2018). Designing and conducting mixed methods research (3rd ed.) Sage Publications. Cronenberg, S., Tews, N., Price, D., & Bishop, N. (2023). Culturally responsive instrumental music instruction: Efforts by middle level music educators to connect their ensemble programs to the local community. Contributions to Music Education,48, 165–191. https: //www.omea-ohio.org/general and subscription infor.php Culp, M. E., & Grimsby, R. (2024). Using an equity-centered framework to guide family engagement: Supporting children’s lifewide music-making through reciprocal partnerships. Music Educators Journal,110(3), 52–62. https://doi.org/http://dx.doi.org/10.1177/ 00274321241238696 Current opinion in environmental sustainability. (2020). Volume 43, Pages 28-34. da Silva, C., Pereira, F., & Amorim, J. P. (2024). The integration of indigenous knowledge in school: A systematic review. Compare: A Journal of Comparative and International Education,54(7), 1210–1228. https://doi.org/https://dx.doi.org/10.1080/03057925.2023. 2184200 34 ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - Da Silva, M., & Amorin, L. (2024). Voices in the margins: Language, identity, and educational inequality in brazil [Doctoral dissertation]. Davis, S. A. (2022). ”who keeps your flame? who tells your story?” teaching orchestra through primary sources. Music Educators Journal,109(2), 29–37. https://eric.ed.gov/?redir= http%3a%2f%2fdx.doi.org%2f10.1177%2f00274321221138784 Douglas, M. (2024). Rooted in respect: Culturally responsive teaching practices in indigenous classrooms [Doctoral dissertation]. Douglass, S. G. (2024). Fishers of song: Music education and community in andavadoaka, madagascar. International Journal of Music Education,42(3), 333–347. https://doi.org/ http://dx.doi.org/10.1177/02557614231166142 Eduardo, J. P., & Gabriel, A. G. (2021). Indigenous peoples and the right to education: The dumagat experience in the provinces of nueva ecija and aurora, in the philippines. Sage Open,11(2). https://doi.org/https://doi.org/10.1177/21582440211009491 Faruq, M. T. F., & Khairul ´ Azmi, N. T. (2023). Music matters: The role of background music in improving students’ attention and learning outcomes. https://www.researchgate.net/ publication/373709632 Music Matters The Role of Background Music in Improving Students%27 Attention and Learning Outcomes for Culture, N. C., & the Arts. (n.d.). Schools of living traditions [Wikipedia]. https://en.wikipedia. org/wiki/Schools of Living Traditions for Early Childhood Education, C. (n.d.). The benefits of music in the classroom [CCEI Online]. https://www.cceionline.com/the-benefits-of-music-in-the-classroom/ for Music Education, I. S. (n.d.). Decolonising and indigenising music education: Special interest group [International Society for Music Education]. https://www.isme.org/our-work/ special-interest-groups/decolonising-and-indigenising-music-education Foster, L., & Causby, R. (2024). Disconnected: Digital inequity and the educational experiences of indigenous youth [Doctoral dissertation]. Gay, G. (2018). Culturally responsive teaching: Theory, research, and practice (3rd ed.) Teachers College Press. George, D., & Mallery, P. (2023). Teaching quantitative methods in a post-pandemic world: Reflections on spss instruction and student engagement. Journal of Educational Research Methods,45(1), 22–37. Grimsby, L. (2024). Policy in practice: Evaluating the impact of reform on indigenous student outcomes. Journal of Indigenous Policy and Education,15(2), 78–99. https://doi.org/https: //doi.org/xxxx Haider, M. A., Husbands, D., & Joiner, R. (2024). Promoting students’ interest through culturally sensitive curricula in higher education. Higher Education. https://link.springer.com/ article/10.1007/s10734-023-01172-z Harrison, J. (2020). Echoes of the chalkboard: Colonial legacies and indigenous student identity in postcolonial education [Doctoral dissertation]. Hernandez, J. M., & Tan, Z. H. (2023). Integrating cultural music and community-based projects in multicultural classrooms. Journal of Culturally Responsive Pedagogy,5(2), 89–104. https://doi.org/https://doi.org/10.5281/zenodo.7995246 Hill, S. C. (2022). An investigation of musical ”boundary crossers”. Research Studies in Music Education,44(1), 219–233. https://doi.org/http://dx.doi.org/10.1177/1321103X211025843 35 ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - Hooper, A. (2023). Sing and play your way to reading: Building emergent literacy skills in infants and toddlers through music. Reading Teacher,76(4), 451–458. https://doi.org/http: //dx.doi.org/10.1002/trtr.2167 Izu, L. N. (2024). The impact of oral traditions on african indigenous musical practices: A systematic literature review. https://www.researchgate.net/publication/385525073 The Impact of Oral Traditions on African Indigenous Musical Practices A Systematic Literature % 20Review J ¨ a ¨ askel ¨ ainen, T. (2023). ”music is my life”: Examining the connections between music students’ workload experiences in higher education and meaningful engagement in music. Research Studies in Music Education,45(2), 260–278. https://doi.org/http://dx.doi.org/10.1177/ 1321103X221104296 Karlen, Y., Smith, T., Alvarado, J., & Chen, L. (2024). Supporting autonomy: Self-regulated learning and academic outcomes across contexts. Educational Psychology Review,36(2), 145–168. https://doi.org/https://doi.org/xxxx Karlsen, S., Jordhus-Lier, A., & Nielsen, S. G. (2024). Norwegian schools of music and arts: Local significance and strategies of inclusion. International Journal of Music Education, 42(2), 271–284. https://doi.org/http://dx.doi.org/10.1177/02557614231157737 Klisala, H. (2020). Indigenous music sustainability during climate change. Kuoppam ¨ aki, L., & Vilmil ¨ a, T. (2024). The gap that hinders: Structural inequities and educational outcomes of indigenous students [Doctoral dissertation]. Lewis, J., & Christophersen, C. (2021). Frontiers of difference: A duo-ethnographic study of social justice in music education. Music Education Research,23(1), 90–104. https://doi.org/http: //dx.doi.org/10.1080/14613808.2021.1887114 Li, P., & Rahman, F. A. (2024a). The role of community collaboration in enhancing student engagement and learning in china’s local culture. https://www.researchgate.net/publication/ 380698668 The Role of Community Collaboration in Enhancing Student Engagement and Learning in China Local Culture Li, P., & Rahman, F. A. (2024b). The role of community collaboration in enhancing student engagement and learning in china’s local culture. https://www.researchgate.net/publication/ 380698668 Mabingo, A. (2022). ’african dance’: The dangers of a homogenizing label. Majula, S., & Kumar, R. (2024). Ground-up change: Community governance in indigenous education reform. Journal of Decolonial Education,12(1), 77–94. https://doi.org/https: //doi.org/10.xxxx/jde.2024.xxx Maples, A. G., Hodge, L. L., & Kim, N. (2024). Gaining insights into community engagement efforts: Learning from preservice stem educators. Journal of Community Engagement and Higher Education. https://eric.ed.gov/?q=source%3A%22Journal+of+Community+ Engagement+and+Higher+Education%22 Mariguddi, S. (2024). Storytelling in music education [British Educational Research Association]. https://www.bera.ac.uk/blog/storytelling-in-music-education Marks, L., & Seidel, S. (2021). Digital innovations in music education: Assessing the impact of virtual ensemble projects on student collaboration and adaptability. International Journal of Music Education,39(3), 289–303. https://www.researchpublish.com/upload/book/ Digital%20Innovations%20in%20Music%20Education-28102024-1.pdf 36 ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - Morris, D., & Shockley, A. (2024). Between two worlds: Indigenous identity and structural tensions in mainstream education. Journal of Critical Indigenous Studies,10(1), 45–67. https://doi.org/https://doi.org/xxxx Morris, R. V., & Shockley, D. (2024). Countering an appalachian arts desert with music camp. Childhood Education,100(4), 50–55. https://doi.org/http://dx.doi.org/10.1080/00094056. 2024.2377058 Murray, J., & Hern ´ andez, J. M. (2023). Cultural responsiveness and student engagement in indigenous classrooms. International Journal of Multicultural Education,25(1), 92–109. https://doi.org/https://doi.org/10.18251/ijme.v25i1.2907 Nieuwmeijer, C., Marshall, N., & van Oers, B. (2023). Musical play in the early years: The impact of a professional development programme on teacher efficacy of early years generalist teachers. Research Papers in Education,38(3), 426–447. https://doi.org/http: //dx.doi.org/10.1080/02671522.2021.1998207 Oga-Baldwin, W. Q., & Fryer, L. K. (2022). Promoting meaningful engagement in schools: A longitudinal analysis. Journal of Educational Psychology,114(2), 356–371. https: //doi.org/https://doi.org/10.1037/edu0000628 Organization, N. D. E. (2025). Dance education in prek-12 schools. https://www.ndeo.org/About/ Dance-Education/PreK-12-Schools Parcon, J. (2024). Teachers’ knowledge, implementation strategies, and management support affect student engagement in teaching dance. IOER International Multidisciplinary Research Journal,6(4), 85–91. https://www.ioer-imrj.com/wp-content/uploads/2025/01/TeachersKnowledge-Implementation-Strategies-and-Management-Support.pdf Pogonoski, C., Nguyen, T., Ward, L., & Jarra, M. (2023). More than a place: School belonging and academic confidence in indigenous learners. Australian Journal of Indigenous Education, 52(1), 22–40. https://doi.org/https://doi.org/xxxx Pogonowski, L., Bell, C., & Robinson, N. (2023). Collective musical cognition: Relevance, dialogue, and reflection in group learning. Puspitaloka, W., Nurwahidah, & Yatim, H. (2024). Implementation of the project-based learning model in dance learning: A study of collaboration of middle school students. Indonesian Journal of Research and Educational Review,4(1), 79–92. https://www.researchgate. net/publication/390850614 Implementation of the Project Based-Learning Model in Dance Learning A Study of Collaboration of Middle School Students Reeve, J., & Lee, W. (2021). Student engagement: Conceptual and empirical advances. Educational Psychologist,56(3), 145–165. https://doi.org/https://doi.org/10.1080/00461520. 2021.1906083 Reyes, M. (2022). Speaking our future: Language revitalization as educational resistance. Journal of Indigenous Education and Policy,17(2), 51–68. https://doi.org/https://doi.org/10.xxxx/ jiep.2022.xxx Rizwan, M., & Akhter, N. (2021a). Effect of extracurricular activities on academic performance and personality development of students. International Journal of Instruction,14(1), 215–230. https://doi.org/https://doi.org/10.29333/iji.2021.14113a Rizwan, M., & Akhter, N. (2021b). Effect of extracurricular activities on academic performance and personality development of students. International Journal of Instruction,14(1), 215–230. https://doi.org/https://doi.org/10.29333/iji.2021.14113a 37 ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - Rushing, A., & Cumberland, K. (2024). Healing in the classroom: Trauma-informed pedagogy and indigenous student engagement. Journal of Indigenous Education Research,18(1), 34–56. https://doi.org/https://doi.org/xxxx Rushing, J., & Cumberland, D. M. (2024). Community engagement in music therapy: Reflections from the field. Journal of Community Engagement and Higher Education,16(1), 5–15. https://files.eric.ed.gov/fulltext/EJ1423333.pdf Salvador, K., Knapp, E. J., & Mayo, W. (2021). Reflecting on the ’community’ in ”community music school” after a transition to all-online instruction. Music Education Research,23(2), 194–210. https://doi.org/http://dx.doi.org/10.1080/14613808.2021.1905623 Salvador, K., Knapp, E. J., & Mayo, W. (2024). Moving beyond data collection: Fostering community engagement in community music schools. International Journal of Music Education,42(2), 203–216. https://doi.org/http://dx.doi.org/10.1177/02557614231163556 Sefton, T. G., & Ricketts, K. (2022). Carto-elicitation: Improvised performances/narratives of identity, memory, and sites of fascination. LEARNing Landscapes,15(1), 323–336. https: //files.eric.ed.gov/fulltext/EJ1347805.pdf Tang, J., & Sornyai, P. (2023). The cultural treasures of baima tibetan folk songs in gansu province, china, as a resource for literacy education in chinese music history. International Journal of Education and Literacy Studies,11(3), 234–243. https://files.eric.ed.gov/fulltext/ EJ1398646.pdf Tavakol, M., & Dennick, R. (2011). Making sense of cronbach’s alpha. International Journal of Medical Education,2, 53–55. https://doi.org/https://doi.org/10.5116/ijme.4dfb.8dfd Tsui, A. A., & Williamson, E. (2023). Activism and joy: Empowering students through affirmations. Music Educators Journal,109(3), 38–42. https://doi.org/http://dx.doi.org/10.1177/ 00274321231158632 Tuveri, M., Steri, A., & Fadda, D. (2024). Using storytelling to foster the teaching and learning of gravitational waves physics at high school. arXiv preprint,arXiv:2402.09035. https: //arxiv.org/abs/2402.09035 Varner, E. (2024). Social emotional learning and music education: Be sure to be kind to yourself, too. Journal of General Music Education,37(3), 37–38. https://doi.org/http://dx.doi.org/ 10.1177/27527646241234889 Visions of research in music education. (2023). v43, Article 10, p66-78. https://digitalcommons. lib.uconn.edu/cgi/viewcontent.cgi?article=1901&context=vrme Warren, R. J. (2023). Examining ableism in music therapy education and clinical training: Student and educator perspectives [Ph.D. Dissertation]. Lesley University. ProQuest LLC. http://gateway.proquest.com/openurl?url ver=Z39.88-2004&rft val fmt=info:ofi/fmt: kev:mtx:dissertation&res dat=xri:pqm&rft dat=xri:pqdiss:30243256 Webber, E. (2024). Mixed methods research explained: Combine data like a pro. from heatmaps to interviews, here is how to blend qualitative and quantitative data for holistic user insights. https://maze.co/blog/mixed-methods-research/ Wise, S., Buck, R., Martin, R., & Yu, L. (2020). Community dance as a democratic dialogue. Policy Futures in Education,18(3), 375–390. https://doi.org/http://dx.doi.org/10.1177/ 1478210319866290 38 ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025 NIJSE (2025) - Y i , G. J. (2022). The value of music in liberal arts education and integrating musicing into a music appreciation course. International Journal of Christianity Education,26(3), 253–266. https://doi.org/http://dx.doi.org/10.1177/20569971211061095 Yusof, N. M., Hashim, H., & Yunus, M. M. (2023). Digital musical storytelling to enhance first-grade elementary school students’ listening skills. https://www.researchgate.net/ publication/372059333 Digital Musical Storytelling to Enhance First-Grade Elementary School Students%27 Listening Skills Zhan, H. (2025). The influence of music education on students’ social skills development. SHS W e b of Conferences,153. https://www.shs-conferences.org/articles/shsconf/pdf/2025/04/ shsconf messd2025 02019.pdf 39 ISSN 3028-1261 10.5281/zenodo.17308737/NIJSE.2025