The discontinuity of Debussy's late works has been acknowledged and variously described by many writers: Herbert Eimert describes it as "endless variation"; Robert Sherlaw Johnson compares this aspect to the collage technique of Messiaen; Robert Orledge describes it as mosaic construction; Roy Howat refers to it as a definable system of block construction; and Boulez describes it as musical pointillism. Although recognized as a striking quality, discontinuity does not feature prominently in most analyses of Debussy's late music. Indeed, many current analytic approaches seek to enforce and reinscribe onto his music the very organicism from which Debussy was trying to escape: in discussions of his works, the analytic approach often smoothes over the juxtapositions and irregularites of the musical surface in order to find an underlying continuity and coherence. While this approach is viable, it surely does not illuminate the most conspicuous and historically significant features of Debussy's late style. To counter this, I approach Debussy's works from the viewpoint of discontinuity in an attempt to expand the many apt descriptions of Debussy's style cited above. Drawing on Stockhausen's description of moment form and its recent revisions in Jonathan Kramer's discussion of musical time, I analyze Debussy's Ondine (Preludes II), focusing on its fifteen moment-like musical ideas, their melodic circularity, harmonic stasis, and the resulting implications of openness in Ondine's form.