Legibility in music engraving.
I recently handled Bärenreiter scores in person, they're so wonderful. The pages appear to be cotton or cotton-blend and have a yellowish-beige tone. The engraving is very similar to LilyPond, not sure; beautiful nevertheless. Legibility of engraving is probably more important than glyphs in written language, because:
1) Reader is on a tempo, they can't pause; so the time allocation for cognitive effort is fixed.
2) No option to re-read or correct, it synchronous to the tempo.
3) You're extremely occupied, even when practicing for years, cognitively across the board from vision to auditory senses and motor control. It's peak human engagement on every level.
4) So many different 'word' level patterns: arpeggios, crescendos/diminuendos, chords, ties and note timing, etc. Oh and multiple staves.
5) No redundancy, yuo cna stlil raed tihs but you can't reverse engineer a score full of typos. Hard encoding with no relief for the reader. This is actually a really cool aspect of written language, that there is redundancy built-in similar to 2DID datamatrix codes.
6) The horizontal spacing is wild. It generally reflects the note duration but only relative to notes around it. A single whole note on a measure takes up less space (horizontally) than sixteen sixteenth notes in a measure. This is kind of genius idea--because spacing can be dynamic and adaptive within the same piece. It affords a higher resolving power. A very busy measure can take a larger horizontal space, than a pianissimo with quarter notes.
7) You have the flip the damn thing, so the score needs to be economical and liberally dense or you'd have to flip the page every 10s.
8) Markings such finger numbers for piano are written alongside. It's hard to express the fidelity and nuances of playing an instrument perfectly in a score, so text directions are used, i.e. the author puts little markings like "Slowly" or "Freely" for tempo, or "With feeling" for mood.
I think color can probably really help. I looked it up, yes, it is used for teaching and by a few contemporary musicians but they're not standard. I wish they were since color exploits a very low level pre-attentive feature of human vision, in parallel with contrast/edges/orientation in V1 region of the vision system; before shape recognition which takes place much later.
Notation is a truly fascinating system to loosely communicate auditory information and instrument performance, but timbre/swing/phrasing/dynamics is left for the performer to interpret. I can read some of it (barely) but wish to learn more, especially from typographic perspective. It's arguably more interesting than latin glyphs because of the demanding nature of it all.