The expressivity of musical performance is highly dependent on the feedback relationship between the performer and the instrument. Despite current advances in music technology, performers still struggle to retain the same expressive nuances of acoustic instruments. The capacity of performative musical expression in technologically-driven music is mitigated by the limitations of controllers and other sensor-based devices used in the performance of such music. Due to their physical properties, such devices and components are unable to provide mainly the haptic and vibrotactile experience between the instrument and the user, thus breaking the link with traditional musical performance. Such limitations are apparent to performers, suggesting often the existence of an unnatural barrier between the technology and the performer. The thesis proposes the use of vibrotactile feedback as means to enhance performer's expressivity and creativity in technology mediated performances and situate vibrotactile feedback as part of the tradition of instrumental musical playing. Achieved through the use of small controllable electric motors, vibrotactile feedback can nourish communicative pathways between the performer and technology, a relationship that is otherwise limited or non-existing. The ability to experience an instrument's communicative response can significantly improve the performer-instrument relationship, and in turn the music performed. Through a series of case studies, compositions and performances, the dissertation suggests ways in which vibrotactile feedback may be applied to enhance the experience between the technology and the performer. As a result performers are able to develop expressive nuances and have better control of the technology during performance.