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The first chapter in the third section of the book begins by presenting the limitations in thinking of absorption as either reflective or pre-reflective, or as a peculiar combination of the two. Instead, I take my departure in the DSQ’s core description of the “music coming by itself”. I explicate this description through Husserl’s notion of “passive synthesis” or “passivity”, elaborate on the central role of “anonymity” herein, and point to the ways in which the body, one’s emotions, and the music itself constitute sources of such passivity. The term “performative passivity”, which integrates these various sources, comes to enable an understanding of all the various form of absorption as places on a continuum and presents us with the phenomenological origin of the feeling of being fused with, or a medium of, the music.