Abstract
In music education, the search for the good inevitably comes around to discussions of musical meaning and aesthetic validity. Such inquiry is essential to a clarification of both musical and educational purposes. Conceived broadly, we can distinguish three approaches to musical meaning pictorial, associative, and structural. The pictorial is imageconnotative, depending largely on word painting, e.g., frogs and flies in Handel's Israel in Egypt, the spring-river in Smetana's Moldau. Associative meanings, derived from the doctrine of affections, evoke metaphorical or allegorical connotations, e.g., fate music in Carmen, Scarpia's motif in Tosca, chromatic weeping in the Crucifixis of Bach's B Minor Mass and in Dido's Lament of Purcell's Dido and
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