Music’s ability to subvert, circumvent and transgress borders escapes neither the musicians who live on these divides nor the scholars who study them. This paper explores some ways in which scholars have employed Israeli and Palestinian musical intersections as sound evidence for a resolution agenda. In other words, the employment of musicians who cross enemy lines as exemplars of a larger societal impetus toward a just and resolved coexistence. Reviewing recent scholarship on Israeli-Palestinian border crossing in the works of Brinner (09), Saada Ophir (05), McDonald (08), Regev (06), and Horowitz (10), I ask whether the crossing of sound barriers predicts political realignment in conflict zones. To interrogate the interactive roles of music and politics in disputed territory, I expand upon Kirshenblatt-Gimblett’s notion of the relational as a corrective to context (11). I suggest that contextualization may result in a process of embedding one field within or of the other, for example “text in context” or “politics of the aesthetic” rather than analyzing music, sound, politics, conflict, and aesthetics as embodied fields that inhabit both their own territory, and also behave in relation rather than “within” or “of” one another.