This research investigates the complex relationship between music and ritual, starting from Han's provocative inquiry about the vanishing of rituals in our contemporary neoliberal condition marked by an overwhelming influx of information and data supremacy. It explores Attali's theoretical model that traces the transformation of music from its origins in the ceremonial practices of early societies to its current manifestations in the digital era. The discussion extends to the alteration of art and music through mechanical reproduction, as illuminated by Benjamin, and embraces Flusser's concept of telematic dialogue as a modern paradigm for artistic creation. The paper posits that the act of listening transcends mere individual engagement, representing instead a ritualistic participation that is intricately entwined with the collective human experience. Music, as a vessel for resonance and harmony, emerges as a potent counterforce to the disintegration of traditional rituals, fostering an ethos of aesthetic forms that transcends the isolating cacophony prevalent in today's communication-saturated society. The reinterpretation of ritualistic values through the prism of music not only deepens our understanding of art but also offers fresh perspectives to counteract the introspective, self-absorbed tendencies promoted by the prevailing neoliberal ethos. Through this lens, the paper advocates for a renewed appreciation of music's role in cultivating a sense of community and connectivity, challenging the atomistic and narcissistic inclinations that characterize the current socio-political landscape.