Since communication and expression are central aspects of music performance it is important to develop a systematic pedagogy of teaching children and teenagers expressiveness. Although research has been growing in this area a comprehensive literature review that unifies the different approaches to teaching young musicians expressiveness has been lacking. Therefore, the aim of this article is to provide an overview of literature related to teaching and learning of expressiveness from music psychology and music education research in order to build a new theoretical framework for teaching and learning expressive music performance in instrumental music lessons with children and teenagers. The article will start with a brief discussion of interpretation and expression in music performance, before providing an overview of studies that investigated teaching and learning of performance expression in instrumental music education with adults and children. On the foundation of this research a theoretical framework for dialogic teaching and learning of expressive music performance will be proposed and the rationale explained. Dialogic teaching can be useful for scaffolding young musicians\' learning of expressivity as open questions can stimulate thinking about the interpretation and may serve to connect musical ideas to the embodied experience of the learner. A \"toolkit\" for teaching and learning of expressiveness will be presented for practical application in music lessons. In addition, a theoretical model will be proposed to further our understanding of teaching and learning of expressive music performance as a multifaceted and interactive process that is embedded in the context of tutors\' and learners\' experiences and environment. Finally, implications of this framework and suggestions for future research will be discussed.

The purpose of this paper is to re-examine the nature of \"meaning\" and \"meaningfulness\" in the context of instrumental music education. By doing so, I propose to expand the ways in which instrumental music educators conceive their mission and the ways in which we may instill meaning in people\'s lives. Traditionally, pursuits of philosophical deliberation have claimed that meaningfulness comes from either personal happiness (e.g., Jeremy Bentham and John Stuart Mill) or an impersonal sense of duty (e.g., St. Augustine, St. Thomas Aquinas, and Immanuel Kant). However, philosopher Wolf (2010) criticizes these positions in favor of a broader perspective, one that arises from understanding that there is a third sort of value, namely \"meaningfulness.\" Rightly understanding meaningfulness may help us engage more fully with a greater sense and understanding of the full potentials of eudaimonia: a life of significance and value for oneself and one\'s community. Therefore, this paper links meaningfulness to a 4E (embodied, embedded, enacted, and extended) account of \"sense-making\" in/for instrumental music education. In doing so, I discuss the aims of public-school music education; aims that engage teachers and students in meaningfulness-a meaningfulness that is ethical, embodied, enacted, and extended-in, with, and through musics and, more directly, \"instrumental\" music making.