The article presents analyses of the manner in which “phantasy”, Marc Richir’s preferred concept of the imagination, can be observed and understood with clarity in relation to the experience of music. By elaborating examples of musical experience, to which Richir refers in his analyses of phantasy, it is shown that phantasy expresses itself as the originally affective dimension of experience, articulated by the correlation between the lived-bodiliness of phantasy (Phantasieleiblichkeit) and the sublime affectivity of the phenomenological apeiron. To this end, the systematic connection between music and phantasy, the concept of rhythm, the unique mobility of Phantasieleiblichkeit, and the sublime dimension of affectivity will be successively explored.