Learning to write music in the staff notation used in Western classical music is part of a musician’s training. However, writing music by hand is rarely taught formally, and many musicians are not aware of the characteristics of their musical handwriting. As with any symbolic expression, musical handwriting is related to the underlying cognition of the musical structures being depicted. Trained musicians read, think, and play music with high-level structures in mind. It seems natural that they would also write music by hand with these structures in mind. Moreover, improving our understanding of handwriting may help to improve both optical music recognition and music notation and composition interfaces. We investigated associations between music training and experience, and the way people write music by hand. We made video recordings of participants’ hands while they were copying or freely writing music, and analysed the sequence in which they wrote the elements contained in the musical score. The results confirmed experienced musicians wrote faster than beginners, were more likely to write chords from bottom to top, and they tended to write the note heads first, in a flowing fashion, and only afterwards use stems and beams to emphasize grouping, and add expressive markings.

学习以西方古典音乐中使用的谱号书写音乐是音乐家培训的一部分。但是，手工书写音乐很少被正式教授，而且许多音乐家都不知道他们的音乐手写特征。与任何符号表达一样，音乐笔迹与所描绘音乐结构的基本认知有关。受过训练的音乐家在阅读，思考和播放音乐时会考虑高级结构。考虑到这些结构，他们也将手工创作音乐似乎很自然。此外，提高我们对笔迹的理解可能有助于改善光学音乐识别以及音乐符号和作曲界面。我们调查了音乐训练与经验之间的联系，以及人们手工编写音乐的方式。我们录制了参与者复制或自由创作音乐时的手的视频，并分析了他们书写乐谱中包含的元素的顺序。结果表明，经验丰富的音乐家比初学者写得更快，从下到上写和弦的可能性更高，他们倾向于先以流畅的方式写音符头，然后才使用茎和横梁来强调分组，并增加表现力。标记。