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Introduction: Defining ‘reconciliation’ by itself could be a cumbersome task. It's been defined as a lot of things such as “a assortment of lived practices - a tradition, a cultural task, a sea-modification in the psyche of a country and something of the creativity of the ‘lunar still left’ (Rigney & Hemming, 2011).” The primary idea one should remember when scanning this paper, may be the discrepancies between Indigenous and Western worlds and the true manner in which they conceptualise music. When understanding music as an instrument for reconciliation, it could be defined under the headings mentioned above. How traditional and well-known music is talked about in this paper could be recognized as ‘a assortment of lived practices - a tradition (Rigney & Hemming, 2011)’. As a result, modern music (for the Indigenous trigger) is better referred to as a cultural task and an effort for a sea-modification in the psyche of a country. Lastly, the basic notion of Indigenous music being integrated in to the curriculum and instructor’s pedagogy, to most, can look as ‘a item of the creativity of the lunar remaining (Rigney & Hemming, 2011).’ In discussing these subjects, hopefully some clearness shall be gained as to the reasons these definitions have already been recognized in each musical realm. Western Music Ideology vs. Traditional Indigenous Music ‘Western music is undoubtedly a bit of individual home, performed to entertain and charm to the listener’s feelings (Mills, 1996).’ In keeping this working description of Western music at heart, it is no question that Westerners neglect to observe and ridicule the ‘power’ of Indigenous music (Mills, 1996). In this feeling, looking at Western music as a ‘mass-produced, standardised and commodified product, involving minimal creativeness (Connell & Gibson 2003...