This study was designed to investigate the effect of student performance level on teachers’ expressive-emotional discourse in musical instrument classes, the possible loci of emotions present in teachers’ discourse and the existence of a tradition of expressive factors in the interpretation of certain musical works. Forty-seven guitar master classes were recorded, and students’ performance levels were subsequently evaluated by independent judges. All material was then transcribed and coded according to the following variables: emotion words, emotional analogies and teaching of expressivity. A questionnaire administered to professional guitarists elicited information on the expressive tradition of the works played in these master classes. Statistical techniques (analysis of variance [ANOVA], the Mann–Whitney U test and the chi-square test) were used to analyse the variables. Results suggest that students’ performance levels and the expressive tradition of the repertoire played can be decisive in how teachers construct their expressive-emotional discourse. Finally, as a teaching strategy for musical expressivity, focus can be directed either towards the emotions felt by the student (i.e., internal locus), or emotions expressed by the music or another source external to the student (i.e., external locus).

这项研究旨在调查学生表演水平对乐器课中教师表达情感话语的影响，教师话语中可能存在的情感轨迹以及在某些音乐作品的解释中表达因素传统的存在。记录了47个吉他大师班，随后由独立法官评估了学生的演奏水平。然后根据以下变量对所有材料进行转录和编码：情感词，情感类比和表达能力的教学。向专业吉他手发放的问卷调查得出了有关这些大师班演奏作品的表达传统的信息。统计技术（方差分析[ANOVA]，Mann-Whitney U检验和卡方检验）来分析变量。结果表明，学生的演奏水平和演奏曲目的表达传统可以决定教师如何构建表达情感话语。最后，作为音乐表现力的教学策略，可以将注意力集中在学生感受到的情绪（即内部轨迹），或音乐或学生外部的其他来源所表达的情感（即外部轨迹）上。