Visual attention is central to ensemble coordination, yet how musicians allocate gaze during naturalistic rehearsal remains poorly understood. We present a pilot study using mobile eye tracking to examine gaze behaviour in a four-member band across three songs, each practiced twice. Musicians wore Pupil Labs Neon eye trackers, and YOLOv8-assisted scene annotations mapped fixations to ensemble members and objects in view. Analyzing fixation matrices, transition matrices, temporal scarf plots, and dwell-transition correlations, we uncover a hub-and-spoke attention topology: the session leader was the dominant gaze target for all members, while the learning guitarist concentrated up to 97% of interpersonal dwell on this single reference. Between attempts, gaze transitions decreased by up to 65% on average for unfamiliar material (up to 82% for individual participants) as scanning stabilized. Scarf plots reveal how teaching breakdowns fragment attention and uninterrupted runs consolidate it. Post-session participant reflections align with the quantitative patterns, and we discuss implications for gaze-aware tools in ensemble pedagogy.

翻译：视觉注意是合奏协调的核心，然而音乐家在自然排练过程中如何分配注视仍知之甚少。我们开展了一项使用移动眼动追踪的试点研究，考察一支四成员乐队在三首歌曲（每首练习两次）中的注视行为。音乐家佩戴Pupil Labs Neon眼动追踪器，通过YOLOv8辅助的场景标注将注视映射到合奏成员及视野中的物体。通过分析注视矩阵、转移矩阵、时间围巾图以及停留-转移相关性，我们发现了一种轮轴-辐条式注意拓扑结构：排练领导者是所有成员的主要注视目标，而学习中的吉他手将高达97%的人际注视停留集中于这一单一参考点。在尝试之间，对于不熟悉素材，注视转移平均减少高达65%（个别参与者高达82%），扫描行为趋于稳定。围巾图揭示了教学中断如何分散注意力，而连续演奏则巩固注意力。实验后的参与者反思与定量模式一致，我们讨论了基于这一发现为合奏教学开发注视感知工具的潜在意义。