Abstract: In a globalized world, the representation of foreign cultures becomes a subject of distinct sensitivity as particularly Western film composers superimpose musical characteristics into foreign nations, thereby creating a gap between romantic and authentic representations. The Occident-Orient divide is thus established, as has been documented thoroughly through the study of Orientalism. However, this field of study consists mainly of literature reviews, with a significant gap in practical application studies. This study aims to uncover the possibility of a Western composer to create authentic Oriental music to meet this gap, with an emphasis on Arabic music theory. Arabic music is founded on modal and rhythmic formulas derived from complex emotions that were not themselves fully explored in this study. The researcher found that a Western composer can functionally learn and apply foreign music systems, but the extent to which the product is proximally authentic could not be ascertained. In addition, an emphasis on aural learning was signified through the time spent learning music. Occidental composers could use this information in prioritizing their research and application processes across their compositions that represent foreign nations.