Music was an art of expression; therefore it should be possible to determine what it expressed and how. Surface generalities, then, can tell us no more about the content of a piece of music than the subject of a picture can tell us about its content. In the Moment musical No. 6, isolation and emphasis work together to produce a strong promissory effect. The foregoing partial analysis of the structure of the Moment musical has also been an analysis of its congeneric meaning, for those terms are simply two ways of characterizing the same body of information. Did Schubert’s realization of that fact, and of its implications, induce, or at least intensify, the sense of desolation, even dread, that penetrates much of his music from then on?