We present the results of the narrative analysis here. We describe participants’ demonstration of their scores in a longitudinal manner to showcase the diversity of how participants approached their scores.

P1

Their first score begins by carefully and softly tracing the long outlines on the upper-left area of the canvas from bottom-left to top-right, with a strong intention of following the curve’s path. They described this section as continuous and consistent sound with small variations. They then moved to the top-right corner and stippled dots loosely and gently, describing these movements as subtle textures that feel like footsteps on the floor while walking in a hall. They then explained the mountainous shape in the lower-middle canvas as exploring variations of paths that connect two regions, and demonstrated it by hatching short lines on each path. They described the zig-zag shape on the leftmost area as a failed attempt at creating something figurative because they did not like the sound it produced. Their second score started by tracing the largest white circles in the middle and then moved to the adjacent smaller circles in an arbitrary order to maintain each circle’s shape. Then they pathed to the largest blue circle without lifting their pen off the canvas and began tracing it in cycles. They attempted to create contrast in their movement’s speeds to differentiate expressions.

We noticed that P1 tended to hold the pen’s upper part, keep their fingertips far away from the tablet’s surface, and avoid contact between their hand and the surface, as shown in Figure 9. They explained that this is not how they usually hold a pen, but they felt comfortable using it because it allows them to [use the pen to] visit the entire canvas easily. They demonstrate this visit the entire canvas action by fixing their forearm and rotating their wrist in small circles while the pen’s tip softly path through the four corners of the canvas.

img Figure 9. Frames extracted from videos recorded while participants were demonstrating their scores, showing various hand, wrist, and arm postures and pen-gripping styles.

P2

Their first score started by clockwise tracing the three circles in the red square box and explaining that these circles should have roughly equal size. This tracing phase has a slow and steady speed. They then quickly contoured inside the long strip box in the middle in a fast, rhythmic, and back-and-forth way for three cycles, as the terrain produced a harsh and metallic sound. Then, they slowly traced the lines in the outer area while gradually adding pressure to the canvas, and eventually returned to circles in the square box on the left. They followed the indexes annotated next to the drawings. Their second score started by casually tracing horizontal lines from bottom to top in the first box. They described this area as a space that produces a variation of plucking sounds, while their movements are similar to using the pen to pluck something inside the canvas - a soft pen-down movement to enter the canvas, quickly adding pressure to it and a sudden lift to exit the canvas. They then traced the long tilted white lines in a directional and casual way while maintaining the overall shape of the curve. They then stippled dots on the top-left corner and described both the sound and movement as jittery and random. Eventually they traced the circle on the top-right corner in a steady, precise, and counter-clockwise motion to create a loop of sound that remain roughly the same in each cycle.

During the entire demonstration, P3 pressed and fixed their wrist firmly on the stand, and used only wrist movements to rotate their hand toward or away from the side of the thumb to move the pen around, as shown in Figure 9.

P3

They explained that, in both scores, they went over all regions of the canvas and then recorded their preferred drawing techniques in each region. The choices of techniques were made based on the sound produced. They demonstrated the blue cross-hatching patterns on the top-left corner with hurried and loose movements, contrasting with the red cross-hatching patterns, which they demonstrated as steady movements with a clear and precise rhythmic. They related the steady cross-hatching technique to strumming a guitar because the action and the sound feel similar to strumming a guitar. Then, they described the white and green circles on the left as relaxing and calm because I do not need to think too much about the movements, allowing them to focus on enjoying the sound produced by the terrain.

P4

In the first score, they assigned a vertical area on the right side of the canvas, in which they annotated sample sketching techniques. They demonstrated their score by reproducing these techniques one by one on a larger scale, covering almost the entire canvas. One of the notable sections is the red colour shape: they started by quickly contouring a vertical line that path through the canvas from left to right, then abruptly stopped and restricted their movements to the small scribbling technique in a jittery and trembling way. A notable section in their second score is that they loosely traced the red circles on the top and followed roughly the exact spatial location on the canvas. This differs from the first score, in which they did not specify any spatial location for any section. After gradually scribbling to the middle area, they made a sudden and quick contouring movement to the right and then paused there for a few seconds while pressing the pen hard to the canvas.

They tended to follow the shapes in their score loosely and did not specify a spatial location in the canvas to perform them. They explained that they tend to look for geometrical shapes that produce sounds they like while attempting to incorporate more than one drawing technique so that it won't get too boring.

P5

Their first score started by tracing red curves following the indexes in numerical order, with slow and soft movements, and attempted to follow the spatial location of the curve carefully. They explained that these movements give them sounds with ambient and atmospheric feelings. Then they traced the large blue ellipse from the top left corner, slowly contoured to the rightmost of the ellipse, made a sudden change of speed, and quickly contoured back to the left following the lower half of the ellipse. Then, they stippled short lines on the rightmost area of the canvas while pressing their wrist against the tablet and slightly flexed their fingers to move the pen around. They described this movement as mimicking someone's footstep and attempted to speed up and slow down their stippling speed to differentiate walking and running. A notable section in their second score is that they scribbled on the red annotated areas following the indexes in numerical order with fast and scrawled movements and described this as noisy, clicky, and glitchy.

P7

They explained that their score has four cycles of hatching movement. Each cycle follows the same pattern but on different locations of the canvas. They started by tracing the white colour pattern using the line hatching technique, with precise and intentional control of the length of each line to maintain the pattern’s shape, and gradually gave up this intention and changed to carelessly hatching wavy lines that loosely followed the pattern. They repeated this cycle three more times. During the entire demonstration, they held their pen very close to the pen’s tip and tended to lift their elbow while moving their forearm, as shown in Figure 9. They attempted to slow down and precisely follow the drawings’ trajectories with a steady speed and attention to detail.

P8

They explained that using the first terrain gave them a feeling of using the pen to point at different areas to adjust the timbre of the sound. Therefore, they mainly tried to add graphical notations depicting the sound’s feeling at a particular location. When re-enacting it, they loosely follow the trajectories of the drawings. For the second score, they attempted to precisely follow the trajectories of the wavy outlines on the right side and commented that they were consciously tracing the curves. Their movement was slow and tight, and the pen’s tip lightly touched the tablet’s surface without applying much pressure. Then, they traced the spiky straight lines on the top right corner and commented that they were paying attention to the rhythm when jagging between left and right. Compared to the wavy lines on the left, they started applying pressure to the straight lines. They explained that this is because the spiky lines look sharper than the wavy lines, so they wanted to make the movement harder.

P9

Their first score started by stippling dots in the canvas’s middle area as it produced a plucky sound with variation in pitch and timbre. They had a strong focus on the rhythmic pulse, attempted to sort this stippling movement into cycles and specified the number of dots in each cycle. Then, they started tracing the large green oval by contouring movements in a counter-clockwise direction. They specified that this should last for four cycles. They explained that they carefully followed the shape’s trajectory and maintained their movement speed precisely because they found that the sound was sensitive to the location and it was quite hard to keep the drawing exactly the same for each cycle. Their second score started by switching between hatching and stippling on the same area on the canvas’s upper left corner. Their hatching technique was typically slow and steady. They attempted to speed up their movements occasionally but always returned to slow and steady movements. Then, they carefully traced each white vertical tilde from the bottom to the top and explained that they were paying attention to the shape of the tilde.

P10

They explained that they tried to collect interesting spots on the canvas, then arrange and annotate them to perform repeated patterns on these spots. Their demonstration started by repetitively tracing the lines inside the boxes labelled with basic and up four times each. They attempted to follow the same position, speed, and pressure each time they traced the same line. Each tracing movement has a quick start, a sudden stop at the line’s end, and a short hovering action at the line’s end. Then, they moved on to the boxes labelled harsh and scrab as the next section. They used a burst of scribbling that starts with a haphazard and chaotic movement and immediately converges to a point, resulting in a drawing stroke with a tornado shape. Then they moved on to the boxes labelled soft and calm. Their movements were softer and less aggressive than the previous sections. They explained the labelled text basic as a similar idea to the root of a chord, which is something to start from, and then go to other labels such as harsh and scrab to create tension, and then return to the root by returning to basic or soft.

They tried using the same collecting spots and designing a movement for each spot technique they used on the first terrain. However, they found that instead of designing different movements for each spot, it was more helpful to use a unified movement across the entire canvas, collect snippets of sounds, and add text labels describing what each snippet sounds like. They started by scumbling circles inside the box labelled tuning and explained that the result sounds like an orchestra is tuning. Then they moved on to the box labelled marble and explained that the result sounds like shaking a jar of marble balls. They used the same technique for the rest of the boxes, and they used gentle and steady loops of circles as a typical technique, repeated for the rest of the boxes.

P11

They explained that they attempted to create twelve pieces of sound across different areas of the canvas for the first score and six pieces on the second, and labelled with 1 to 12 and 1 to 6, respectively. For the pieces 1, 2, 3, and 4 on the first score, they attempted to draw a continuous shape with multiple types of lines. For pieces 5, 6, 8, and 9 on the first score and 2, 4, 5, and 6 on the second, they attempted to record a single type of line that they found interesting. Then, for the rest of the pieces (6 and 7 on the first score and 1 on the second), they tried creating figurative drawings, but they explained that they had their attention on thinking about the shapes and meanings of the drawing instead of sketching techniques.