This chapter focuses on Hannah Arendt’s concept of sounding. It explores Arendt’s focus on music and poetry producing the phenomena of aesthetics and politics. Arendt’s assertion of an intrinsic relationship between music and poetry offers a way of interpreting musical and poetic works as inherently political. Mood, tone, and sounding belong to the world of appearances that hold inherent political capacity by displaying an explosive ability to give voice to the dispossessed. The chapter then considers Arendt’s basic assumption that music and poetry, as artworks, uphold an ontological status of permanence, while also referencing an immersion in emotions and radical subjectivity.