Music is inherently connected to sociopolitical contexts and relations. Music and politics are intertwined both historically and presently, and there is much literature exploring the relationships between music and various political movements. In considering the importance of an approach to understand these connections and relationships, I suggest a methodology that allows us to contextually explore musics that occur both in tandem with human actions and in response to human actions. In Culture and Imperialism, Edward Said (1993) put forward a contrapuntal methodology as a means to make sense of the literature and "culture" he examined in his text. Said was an accomplished pianist and often wrote of music (see, for example, Said 2006, 2008). As such, this contrapuntal methodology has the inherent musical qualities of counterpoint that include both intricate design and a delicate balance. Inherent to its structure is the examination of hegemonic culture in juxtaposition with its counterhegemonic counterpart. In this paper, I explore the notion of Said's (1993) contrapuntal methodology and its potential relationship to music, musicking, and music education.