The theme of organic wholeness in music is central to Heinrich Schenker’s theory. According to the early Schenker, music is not organic, since it lacks causality and logic; yet its entire effect rests on its imitation of natural organicity. In his later works, the theorist perceives music as an organic whole founded upon natural laws. Throughout the development of his theory of wholeness, Schenker conceives of organicity as an “objective” given, essentially independent of any conscious or subjective activity. Consciousness, he argues, can only contaminate the organic whole; therefore, if the composer or performer wishes to grasp musical wholeness, they must approach music instinctively rather than consciously. Instinct, however, is also naturally determined—it is a gift and, ultimately, a matter of genius, but a genius grounded in the laws inherent in objectively pre-given nature. Thus, the role of the I in relation to music—the composer, performer, or listener (including the analyst)—is reduced to the “passive” witnessing of music’s immanent organicity. If a subject perceives wholeness in music, it is the result of their complete (instinctive) “absorption” in the organic whole.