In this article, the author examines the intersections of three concepts, form, feeling, and isomorphism, in the work of Susanne Langer, as they are fundamental to an understanding of her aesthetic theory and to the construction of a philosophy of music and music education. These three concepts hold meanings that differ among musicians and aestheticians. Contemporary musicians and aestheticians continue today to engage Langer albeit some favorably and others with disdain. Whatever their reasons, she remains a dominant force in the philosophy of music. (Contains 42 notes.)