In probing the interrelationship of myth, meaning, and education, the author offers a case in point, notably, Peter Jackson's film adaptations and Howard Shore's musical scores for J. R. R. Tolkien's "The Lord of the Rings trilogy"--"The Fellowship of the Ring," "The Two Towers," and "The Return of the King." Intersecting literature, film, and music allows the author to explore various perspectives or ways of meaning making associated with this myth. In this article, the author traces some of the implications of the analysis for musical and general education. In "The Lord of the Rings," Shore's musical scores help to highlight the mythic character of Tolkien's narrative, bridge the externally perceived phenomenal world and the internal and subjective "inner world," interrelate the experience of time--especially past and present--and evoke a sense of wonder and awe that otherwise may be forgotten in pervasively materialistic societies. Since "The Lord of the Rings" is a hopeful, albeit tragic, tale and education needs to be a hopeful although realistic undertaking, studying the myth and its music can have special value for teachers and students alike given its consonance with the objectives of general education. Here, the author briefly sketches some of the ways in which music intersects with myth in the Jackson's film trilogy "The Lord of the Rings," noting ways in which the films diverge from Tolkien's novels on which they are based. Notwithstanding the potential pitfalls and limitations in taking a mythic approach to music education, the author sketches some compelling reasons to include it as one of the ways by which people come to know music and myth. (Contains 33 notes.)