This chapter offers a queer phenomenology of nineteenth-century German art song, particularly that of Schubert. While musicologists and other scholars have written extensively about Schubert’s queerness, most have focused either on his biography or on how queerness appears in his music. My aim is the reverse: not to say how art song is queer, but to say how queerness is like art song. The form of art song and the feeling of queerness have in common that they entail the reclaiming of preemptively foreclosed originary potential, whether traceable or lost to history. I elaborate an analogy between the Romantic conception of mutual seeking between words and music and the experience of queerness (particularly queerness of being, which seeks itself, rather than queer desire, which seeks a sexual object and is by far the aspect of queerness most often discussed in the existing literature). Key to the argument is the temporal dimensions of both the music-text relationship and the experience of nonbinary gender. The first part of the essay develops the analogy between the aesthetic temporality of art song and the phenomenological temporality of queerness. The second part elaborates the dialectical structures at play in both categories, comparing by way of example Schubert’s settings of Müller’s “Auf dem Flusse,” D. 911/7 and Goethe’s “An den Mond,” D. 259 and D. 296.