To assess allocation of attention by music teachers with different levels of experience and expertise, we recruited five participant flautists: an artist teacher, two graduate students, and two undergraduates, all of whom observed nine brief video recordings of flute, clarinet, and saxophone players; a juggler; a baseball batter; and a ballerina. We tracked participants’ gaze using wearable eye-tracking hardware and software, and we analyzed the targets and durations of over 1,300 visual fixations and the paths of participants’ eye movements while observing the videos. The gaze behavior of the artist teacher and one of the graduate students, when they observed flute playing, was much like that of the experts in other domains of human experience. These two participants’ fixations were longer than those of the other three participants, and the sequence of fixation targets reflected a hierarchical prioritization of the fundamentals of flute playing. These same features were not apparent when these same two participants observed the other videos, and they were not observed in the gaze behavior of the other three participants in any of the videos observed. The results of this study demonstrate that allocation of attention, as indicated by gaze behavior, is reflective of expertise in music teaching as it is in other domains.

为了评估具有不同经验和专业水平的音乐教师的注意力分配情况，我们招募了五名长笛演奏者：一名艺术家教师、两名研究生和两名本科生，他们都观看了九段长笛、单簧管和萨克斯管演奏者的简短视频; 杂耍者；棒球击球手；和一个芭蕾舞演员。我们使用可穿戴式眼动追踪硬件和软件跟踪参与者的注视，并在观察视频时分析了 1,300 多个视觉注视的目标和持续时间以及参与者眼球运动的路径。艺术家老师和一名研究生在观察长笛演奏时的凝视行为与人类经验其他领域的专家非常相似。这两名参与者的注视时间比其他三名参与者的注视时间长，固定目标的顺序反映了长笛演奏基础的分层优先级。当这两个参与者观察其他视频时，这些相同的特征并不明显，并且在观察到的任何视频中的其他三个参与者的凝视行为中都没有观察到这些特征。这项研究的结果表明，注视行为所表明的注意力分配反映了音乐教学中的专业知识，就像在其他领域一样。