The Audio Mostly (AM) conference has long been a platform for exploring the intersection of sound, technology, and culture. Despite growing interest in sonic cultures, discussions on the role of cultural diversity in sound design and sonification remain limited. This paper investigates the implicit biases and gaps within the discourse on music and sound aesthetics, challenging the notion of music as a 'universal language'. Through a historical and cross-cultural analysis of musicology and ethnomusicology, the profound influence of cultural context on auditory perception and aesthetic appraisal is highlighted. By drawing parallels between historical music practices and contemporary sound design, the paper advocates for a more inclusive approach that recognizes the diversity of sonic traditions. Using music as a case study, we underscore broader implications for sound design and sonification, emphasizing the need to integrate cultural perspectives into auditory design practices. A reevaluation of existing frameworks in sound design and sonification is proposed, emphasizing the necessity of culturally informed practices that resonate with global audiences. Ultimately, embracing cultural diversity in sound design is suggested to lead to richer, more meaningful auditory experiences and to foster greater inclusivity within the field.