The integration of traditional and indigenous music into classrooms represents a significant convergence of ethnomusicology and music education. Over the past decades, this movement has reshaped the aims of music pedagogy, extending beyond aesthetic training to encompass cultural identity formation, social inclusivity, and holistic child development. Ethnomusicological scholarship underscores that indigenous music functions not only as an art form but also as a medium of cultural transmission, moral and spiritual formation, language development, and ecological awareness. Embedding these traditions within formal curricula resists the historical marginalization of indigenous practices under globalization and Western cultural dominance, while at the same time offering children meaningful entry points into diverse sound worlds. This workshop builds on these perspectives by introducing participants to Philippine bamboo and wooden instruments as a model for culturally responsive pedagogy. Drawing on Kodály’s principle of experiential learning, the workshop emphasizes that musical understanding should be grounded in active performance rather than abstract explanation. Participants engage in singing and instrument playing, allowing them to internalize musical concepts before encountering them through notation and terminology. Simultaneously, the act of learning to play these instruments provides insight into their significance as cultural objects, revealing the values, practices, and worldviews they embody within Philippine communities. By engaging directly with these instruments, participants encounter the distinctive aesthetics and cultural logics of Philippine music traditions, positioning traditional instrument performance as a pathway to both comprehensive musicianship and intercultural understanding. The approach also broadens inclusivity: students who may not gravitate toward singing are given meaningful avenues for music-making, thereby expanding access and participation. Ultimately, this workshop argues that the integration of traditional instruments into classroom practice is not only an artistic or pedagogical choice but also a cultural and ethical one. It demonstrates how indigenous practices, when situated at the center of music education, can deepen conceptual learning, foster respect for cultural diversity, and contribute to a more responsive and sustainable model of music pedagogy in the 21st century.