Puurtinen Marjaana
J Eye Mov Res. 2018 May 1;11(2). doi: 10.16910/jemr.11.2.2.
In this review, we focus on the methodological aspects of eye-tracking research in the domain of music, published and/or available between 1994 and 2017, and we identify potentially fruitful next steps to increase coherence and systematicity within this emerging field. We review and discuss choices of musical stimuli, the conditions under which these were performed (i.e. control of performance tempo and music-reading protocols), performer's level of musical expertise, and handling of performance errors and eye-movement data. We propose that despite a lack of methodological coherence in research to date, careful reflection on earlier methodological choices can help in formulating future research questions and in positioning new work. These steps would represent progress towards a cumulative research tradition, where joint understanding is built by systematic and consistent use of stimuli, research settings and methods of analysis.
在本综述中，我们聚焦于1994年至2017年间已发表和/或可获取的音乐领域眼动追踪研究的方法学方面，并确定了一些潜在的富有成效的后续步骤，以增强这一新兴领域内的连贯性和系统性。我们回顾并讨论了音乐刺激的选择、进行这些刺激的条件（即表演节奏的控制和读谱规程）、演奏者的音乐专业水平，以及表演错误和眼动数据的处理。我们认为，尽管迄今为止的研究在方法上缺乏连贯性，但对早期方法选择进行仔细反思有助于提出未来的研究问题并定位新的研究工作。这些步骤将代表朝着累积性研究传统迈进的进展，在这种传统中，通过系统且一致地使用刺激、研究环境和分析方法来建立共同的理解。
