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This document represents the first comprehensive analysis of Joseph Schwantner's Aftertones of Infinity as an example of moment form. Exploring Stockhausen's description of moment form and its recent interpretations in Jonathan Kramer's discussion of moment time, this paper will investigate Schwantner's Aftertones by focusing on its eighteen moments. The analysis will define these moments by their underlying static harmonies, fixed tempos, and consistency of textures, melodies, and rhythmic materials. This paper will further demonstrate that the musical meaning of the piece would remain unchanged even if its defined moments were reordered. An alternate ordering of the moments demonstrates to the listener that on a certain hierarchical level the musical meaning of the work is essentially unaltered. This will be done for the reader's benefit by taking a recording of the work, digitally editing the moments into separate sections with audio software, reordering the moments, and reassembling them, and by demonstrating this visually in score form. The reordered performance will be submitted as part of the document in its electronic form as a sound file.