Recent curriculum policy changes in British Columbia (BC) require that educators in all subject areas--including music--embed local Indigenous knowledge, pedagogies, and worldviews in their classes. Yet facilitating such decolonizing cross-cultural music education activities requires knowledge that music educators may not currently possess. We use four models created by an Indigenous Arts scholar to examine the interface of Indigenous and Western art musics in performing arts settings: (a) integration, (b) nation-to-nation music trading and reciprocal presentation, (c) a combination of the first two models, and (d) non-integrative encounters that are in relationship but have irreconcilable elements. We consider the applicability of these models in music education settings, using them to analyze our findings from a study in which we explored the ways teachers have embedded local First Nations songs and drumming in classes in a single metropolitan school district in BC.