This qualitative, multiple case study examined teachers' perceptions and strategies used to elicit emotional expression in students' piano playing. Since much of the existing literature depicts the relationship between emotion and music (Juslin, 1997; Perrson, 1993; Tait, 1992), yet little exists which explores conceptualizations of emotion (Schrempel, 2010; Juslin & Persson, 2002; Karlsson & Juslin, 2008), this dissertation focuses on piano teachers' perceptions of expression and how these impressions influence their pedagogical approaches. Three case studies were carried out with acclaimed piano teachers, representative of various cultural, musical, and pedagogical backgrounds, in order to examine, compare, and contrast (Weirsma & Jurs, 2009; Creswell, 2007) their teaching practices. The data was collected through semi-structured interviews with the teachers and videotaped lesson observations. Triangulation was achieved through the researcher's analysis of specific musical selections in which findings from the data were further illustrated. Six representative musical excerpts from the observed lessons were chosen by the researcher for each teacher to facilitate points of discussion during the interviews. The data was organized under the three broad categories of: (1) Teacher perceptions of expression (2) Strategies used to teach expressive elements (3) How the student learns and understands the content. Swanwick's model of musical criticism (1992) provides the interpretative framework for this study from which the findings of the data are organized. The model illustrates that there are four essential modes of musical criticism which define the nature of expressive experience and represent "the dimensions of the ways we think and talk about music and its performance" (Swanwick, 1991, p. 140). The four modes are: Materials, Expressive Character, Form, and Value. This study highlights the individualized and contextualized nature of the process towards achieving greater expression through descriptions of teaching in terms of content and process, identifying a "language of practice." It provides a network of ideas and alternative approaches relating to expressivity. In this way it also allows piano teachers to critically examine their own practice through the process of comparison and reflection; hopefully providing a stimulus for further discussion, and taking the reader beyond the limits of his or her own experience. [The dissertation citations contained here are published with the permission of ProQuest LLC. Further reproduction is prohibited without permission. Copies of dissertations may be obtained by Telephone (800) 1-800-521-0600. Web page: http://bibliotheek.ehb.be:2222/en-US/products/dissertations/individuals.shtml.]