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</head><body><h2 id="home"><a href="./index.html">home</a></h2>
<p><em>author: niplav, created: 2019-04-11, modified: 2022-06-10, language: english, status: maintenance, importance: 4, confidence: unlikely</em></p>
<blockquote>
<p><strong>In western cultures, it is nearly universal for people to clap
before and after pieces of classical music and jazz. An argument
against this practice is presented, counterarguments are discussed,
and alternative approaches to appreciation of music are proposed.</strong></p>
</blockquote><div class="toc"><div class="toc-title">Contents</div><ul><li><a href="#Arguing_Against_Applause">Arguing Against Applause</a><ul><li><a href="#Preventing_Incorrect_Clapping">Preventing Incorrect Clapping</a><ul></ul></li></ul></li><li><a href="#History">History</a><ul></ul></li><li><a href="#Counterarguments">Counterarguments</a><ul><li><a href="#Applause_Fits_Because_of_Cultural_History">Applause Fits Because of Cultural History</a><ul></ul></li><li><a href="#Applause_is_Useful_for_Appreciation_and_Communication_for_Feedback">Applause is Useful for Appreciation and Communication for Feedback</a><ul></ul></li><li><a href="#None">Clapping on Chesterton's Fence</a><ul></ul></li></ul></li><li><a href="#Other_Approaches">Other Approaches</a><ul><li><a href="#Existing_Different_Approaches">Existing Different Approaches</a><ul><li><a href="#Silence">Silence</a><ul></ul></li><li><a href="#Jazz_hands">Jazz hands</a><ul></ul></li></ul></li><li><a href="#Possible_new_Forms_of_Appreciation">Possible new Forms of Appreciation</a><ul><li><a href="#Staying_in_the_Concert_Hall">Staying in the Concert Hall</a><ul><li><a href="#Problems">Problems</a><ul></ul></li></ul></li></ul></li></ul></li><li><a href="#Conclusion">Conclusion</a><ul></ul></li><li><a href="#External_Links">External Links</a><ul></ul></li></ul></div>
<h1 id="Against_Applause_After_Classical_Concerts"><a class="hanchor" href="#Against_Applause_After_Classical_Concerts">Against Applause After Classical Concerts</a></h1>
<blockquote>
<p>Silence is a hard virtue.</p>
</blockquote>
<p><em>— <a href="http://slatestarcodex.com/">Scott Alexander</a>, <a href="https://slatestarcodex.com/2013/06/14/the-virtue-of-silence/">“The Virtue of Silence”</a>, 2013</em></p>
<h2 id="Arguing_Against_Applause"><a class="hanchor" href="#Arguing_Against_Applause">Arguing Against Applause</a></h2>
<p>In visual art, curators try to create a well-fitting environment for the
art: either a neutral environment in the case of modern or abstract art,
or a culturally fitting environment in a tasteful building and well-lit
rooms.</p>
<p>In this regard, it seems like visual art is curated mostly along
spatial categories: buildings, rooms, space, and lighting. So, if one
were to curate music, which categories would be important? Since music
is curated, this is not a hypothetical: music is curated mostly after
temporal categories such as time and order.</p>
<p>However, one ritual does not fit into this: clapping before, during and
after concerts puts noise directly before and after a performance. An
analogy with visual art would be putting tv screens with static next to
pieces of abstract art (and not as part of the art work!). This could
perhaps fit with some pieces of art, but would mostly be distracting
and counter-productive to understanding the piece. So, why does a society
put noise before, after, and sometimes even between pieces music?</p>
<p>On the contrary, treating classical music like visual art would imply creating
a fitting soundscape around a piece of music. Concretely, this could
consist of a fixed period of silence before and after a piece of music,
or a fitting low complexity soundscape that prepares for the piece
about to be played. I am much more in favour of having silence, since
sorrounding music seems hard to pull of so that it fits.</p>
<p>There is some evidence that silence indeed <strong>is</strong> appreciated by people
who listen to classical music in concert. For example, an acquaintance
of mine told me enthusiastically about a performance of a symphony by
Bruckner that ended in half a minute of silence before the applause
started, which he highly appreciated (despite being against eschewing
applause entirely). Furthermore, it is a great faux-pas to clap before
the last note of a piece has ended, especially when interrupting a
decrescendo at the end of a piece. A more crude observation can be made
about interrupting sounds during a concert like talking or coughing,
a cardinal sin for somebody in a concert hall, though this seems less
relevant because there is a diffence between distraction during music
and distraction before and after music.</p>
<h3 id="Preventing_Incorrect_Clapping"><a class="hanchor" href="#Preventing_Incorrect_Clapping">Preventing Incorrect Clapping</a></h3>
<p>The exact fitting moments of applause are a difficult topic in classical
music and the source of many mistakes on the side of the audience,
abolishing applause would remove these mistakes, but also prevent the
ability to display status and knowledge by knowing where to clap (and
the possibility to keep out ignorant philistines).</p>
<!--TODO: check whether this is correct-->
<p>Examples for such incorrect applause is clapping prematurely, applause
between different movements of the same piece (for different pieces,
this is fine though‽) and clapping after a particularly impressive solo
(which is okay in Jazz, but not in classical music).</p>
<p>All of this confusion could be avoided by eschewing applause entirely.</p>
<!--Possible further argument: Applause turns music
into a competition who gets most, and that is toxic (see
https://cjeller.wordpress.com/2015/08/09/against-applause/) It also makes
a good point, that applause is not very gradual: it puts every member
of the audience into a single coherent group, without any gradient: "It
forces individuals to react to music the same way, regardless of whether
one enjoyed, disliked, or didn’t understand the music." Eller alludes
to other solutions to the problem of applause, but doesn't name any.-->
<h2 id="History"><a class="hanchor" href="#History">History</a></h2>
<!--TODO: track down primary sources for this-->
<p>It seems like very similar arguments have been given in the history
of music:</p>
<blockquote>
<p>Schumann and Mendelssohn tacitly addressed the applause issue by
writing certain major works without movement breaks. Call it pre-emptive
composing, if you will. For example, Mendelssohn explicitly asked that
his "Scottish" Symphony, which debuted in 1842, be played without a
break to avoid "the usual lengthy interruptions." Schumann took care
of the matter in a similar way in his piano and cello concerti as well
as his Fourth Symphony.</p>
<p>As a respected critic of the time, Schumann also openly scolded audiences
in print for their behavior. He went on record as chiding them: "You
should be turned to stone pagodas."</p>
<p>New Yorker critic Alex Ross <a href="http://www.therestisnoise.com/2005/02/applause_a_rest.html">points the
finger</a>
at German composer Richard Wagner for
instigating this change in audience behavior. <a href="http://alexrossmusic.typepad.com/files/rps_lecture_2010_alex-ross.pdf">Ross
says</a>
the ball got rolling in Bayreuth at the premiere of Wagner's opera
"Parsifal" in 1882.</p>
<p>According to Wagner's wife, the audience raised such a ruckus after one
of the acts that the composer spoke to them directly. He thanked them
for their appreciation but mentioned the agreement he'd made with the
cast -- "in order not to impinge on the impression, not to take a bow,
so that there would be no 'curtain calls.'"</p>
<p>Applauders were apparently hissed in subsequent performances for failing
to honor this request.</p>
<p>By around 1900, a segment of the public had embraced the concert hall
as a hallowed space. Howard Shanet references a pre-World War I era
Encyclopedia Britannica article saying, "The reverential spirit which
abolished applause in church has tended to spread to the theatre and
the concert-room."</p>
<p>As Ross documents, the movement gathered more steam in this country
around the time of the Great Depression, spearheaded by conductor
Leopold Stokowski.</p>
<p>Stokowski went so far as to propose audiences stop applauding altogether,
lest it intrude on the divinity of the concert experience: “When you
see a beautiful painting you do not applaud. When you stand before a
statue, whether you like it or not, you neither applaud nor hiss.”
On the other hand, Russian-born American conductor Ossip Gabrilowitsch
praised the southern Europeans who "shout when they are pleased; and
when they are not, they hiss and throw potatoes." And he chided passive
audiences: “It is a mistake to think you have done your part when you
buy your tickets.” Halfway through the 20th century the conductor Pierre
Monteux sided with the great composers of the past: "I do have one big
complaint about audiences in all countries, and that is their artificial
restraint from applause between movements or a concerto or symphony. …
It certainly does not fit in with the composers’ intentions."</p>
</blockquote>
<p><em>— <a href="https://www.cpr.org/author/jean-inaba/">Jean Inaba</a>, <a href="https://www.cpr.org/2014/06/09/the-clapping-question-should-classical-audiences-applaud-between-movements/">“The clapping question: Should classical audiences applaud between movements?”</a>, 2014</em></p>
<p>Musicians have also given very similar arguments to the one presented here:</p>
<blockquote>
<p>Chicago Symphony Orchestra bassoonist William Buchman
<a href="http://articles.chicagotribune.com/2012-05-29/entertainment/ct-ent-0529-applause-during-performance-20120529_1_clap-classical-music-cso/2">asserted</a>
in 2012 that absolute quiet is as important to a work as the notes
themselves: "The silence is as profound as some of the music, and when
that silence is not allowed its space, you lose a lot of the emotional
impact that the silence can otherwise generate."</p>
</blockquote>
<p><em>— <a href="https://www.cpr.org/author/jean-inaba/">Jean Inaba</a>, <a href="https://www.cpr.org/2014/06/09/the-clapping-question-should-classical-audiences-applaud-between-movements/">“The clapping question: Should classical audiences applaud between movements?”</a>, 2014</em></p>
<p>But, historically, this perspective is quite uncommon:</p>
<blockquote>
<p>Mozart would've loved hearing the applause. So would Brahms. And
Beethoven and Grieg and a lot of other composers.</p>
<p>In their day, audiences spontaneously clapped when they heard something
they really liked – even if it meant breaking into the music before
its conclusion.</p>
</blockquote>
<p><em>— <a href="https://www.cpr.org/author/jean-inaba/">Jean Inaba</a>, <a href="https://www.cpr.org/2014/06/09/the-clapping-question-should-classical-audiences-applaud-between-movements/">“The clapping question: Should classical audiences applaud between movements?”</a>, 2014</em></p>
<p>However, one could argue that the trend in classical music is from loud
and frequent applause towards a more quiet and refined appreciation
of the music, and that the logical conclusion of this development is
absolute silence before, during, and after a classical piece.</p>
<h2 id="Counterarguments"><a class="hanchor" href="#Counterarguments">Counterarguments</a></h2>
<h3 id="Applause_Fits_Because_of_Cultural_History"><a class="hanchor" href="#Applause_Fits_Because_of_Cultural_History">Applause Fits Because of Cultural History</a></h3>
<p>Just like the tuning of the instruments before a classical concert,
applause can be considered an important part of the ritual that goes
along with all forms of art. If that were the case, removing such an
integral part would be not beneficial to the appreciation of the piece,
but detrimental. I personally feel that removing the tuning of instruments
at the beginning of a piece is not as urgent as removing applause,
although they both have a negative impact on the pure experiential aspect
of classical music (although, at least, tuning instruments is in the same
category of sound as the concert itself, with the sounds being produced
by instruments, and not just being white-noise-ish background sounds).</p>
<p>There is an interesting trade-off to be observed here: one between
following art-intrinsic rituals, and optimizing for an optimal
experience. Similarly, one could argue that painters do not matter,
and images should be sold on their individual quality alone. This,
of course, would violate the idea of brand-building in the artist
community, render social gatherings of artists and collectors useless,
and destroy the culture around the artists and their works. Removing
applause wouldn't be as drastic, but in a similar spirit: Exchanging a
socially and historically aware conception of music for a very puristic
and theoretical one.</p>
<p>Still, it feels like not being offered a choice whether one wants to
participate in the rituals of classical music seems unfair to purists.
One could imagine concerts targeted especially at people who want to
isolate listening experience from everyday noise, maybe even gaining
popularity after a while because of a status as especially knowledgeable
coinisseurs of classical music. And the status signalling treadmill turns
and turns.</p>
<h3 id="Applause_is_Useful_for_Appreciation_and_Communication_for_Feedback"><a class="hanchor" href="#Applause_is_Useful_for_Appreciation_and_Communication_for_Feedback">Applause is Useful for Appreciation and Communication for Feedback</a></h3>
<p>Of course, all if this argumentation ignores the main function of
applause: Showing appreciation for the musicians'<!--Genitive for
plurals?--> performance in a clear way. Prohibiting applause entirely
would make it difficult for musicians to assess the quality of their
performance by observing different intensities of applause, though it
seems unclear how often musicians really optimize for loud, long and
frentic applause (and how often this kind of applause happens because
of the quality of the performance compared to the celebrity status of
some performers). It would also remove a major motivation for playing,
namely, receiving appreciation for a performance.</p>
<p>On the other hand, applause is not the only possible
appreciation signal available. One could imagine others that
would both leave the musicians satisfied, for example <a href="https://en.wikipedia.org/wiki/Jazz_hands">Jazz
Hands</a>-like
gestures used in <a href="https://www.independent.co.uk/life-style/clapping-banned-manchester-university-students-union-jazz-hands-applause-a8566531.html">deaf
culture</a>
or the amount of time spent in the concert hall after the last note has
been played.</p>
<h3 id="None"><a class="hanchor" href="#None">Clapping on </a><a href="https://en.wikipedia.org/wiki/Wikipedia:Chesterton's_fence">Chesterton's Fence</a></h3>
<p>I have hinted at this point before already, but it is worth stressing that
traditions like applause may fulfill old and useful functions that can't
be seen, and removing applause might cause unforseen consequences.</p>
<p>One such possible function could be that knowing correct applause in
a concert (before and after a piece, not between movements, but after
an aria it is fine) strengthens group cohesion between concert-goers
(because it is a useful in-group signal based on common knowledge)
and perhaps contributes to the continued culture around classical music.</p>
<p>If applause were to be abolished, it could be that a similar display
couldn't be found before this cohesion breaks up and classical music
falls into oblivion. While this may seem like an unrealistically extreme
scenario, there are a myriad of similar possibilities lurking behind
drastic changes to the concert experience.</p>
<p>However, this point does not automatically mean it is right to reject
experimentation with feedback for musicians, including "no-applause
concerts".</p>
<h2 id="Other_Approaches"><a class="hanchor" href="#Other_Approaches">Other Approaches</a></h2>
<p>For now, I have only written about criticisms of applause without
otherwise considering alternative options that fulfill the rudimentary
functions of applause.</p>
<h3 id="Existing_Different_Approaches"><a class="hanchor" href="#Existing_Different_Approaches">Existing Different Approaches</a></h3>
<!--TODO: Look at other existing approaches in the Wikipedia article on applause-->
<p>During the history of art appreciation, there have been different approaches to showing appreciation for
art. For example,</p>
<blockquote>
<p>The ancient Romans had set rituals at public performances to
express degrees of approval: snapping the finger and thumb,
clapping with the flat or hollow palm, and waving the flap of
the toga […].</p>
</blockquote>
<p><em>— <a href="https://en.wikipedia.org/wiki/">English Wikipedia</a>, <a href="https://en.wikipedia.org/wiki/Applause">“Applause”</a>, 2019</em></p>
<p>Here, I will only consider approaches that produce minimal sound.</p>
<h4 id="Silence"><a class="hanchor" href="#Silence">Silence</a></h4>
<p>It is perhaps not common, but at least regular that concert audiences
stay in complete silence for a short period of time after a particularly
awe-inspiring performance. Unfortunately, this is often followed by
especially loud and disturbing applause. Perhaps the length of this
period of silence could be another way of showing appreciation for a
good piece, with longer periods of silence showing a high enjoyment
of the piece. However, this could fail due to coordination problems,
and leave the artists even more confused: Some people would start
clapping instantly, while others would stay silent, confusing everyone
on the opinion of the audience (using both clapping <em>and</em> the absence
of applause as displays of appreciation could be very confusing).</p>
<h4 id="Jazz_hands"><a class="hanchor" href="#Jazz_hands"></a><a href="https://en.wikipedia.org/wiki/Jazz_hands">Jazz hands</a></h4>
<blockquote>
<p>In Deaf culture, Deaf audiences will use a more visually expressive
variant of clapping. Instead of clapping their palms together, they raise
their hands straight up with outstretched fingers and twist their wrists […].</p>
</blockquote>
<p><em>— <a href="https://en.wikipedia.org/wiki/">English Wikipedia</a>, <a href="https://en.wikipedia.org/wiki/Applause">“Applause”</a>, 2019</em></p>
<p>This practice, also known as <a href="https://en.wikipedia.org/wiki/Jazz_hands">"Jazz
Hands"</a>, seems to be a
good starting point: an already existing method, retaining most of the
properties of applause (such as being visible, produced by the audience,
requiring participation, mostly self-coordinating and less straining on
the palms) and being favoured by a marginalized group connected to the
social justice movement.</p>
<p>However, some good objections <a href="https://old.reddit.com/r/slatestarcodex/comments/9x323i/applause_vs_jazz_hands/">have been
raised</a>:</p>
<ul>
<li>Jazz hands don't work when the audience is <a href="https://old.reddit.com/r/slatestarcodex/comments/9x323i/applause_vs_jazz_hands/e9pc5nl/">not visible</a></li>
<li>Jazz hands diminish the <a href="https://old.reddit.com/r/slatestarcodex/comments/9x323i/applause_vs_jazz_hands/e9pcdsk/">connection with the audience</a></li>
<li>Jazz hands are hard to detect <a href="https://old.reddit.com/r/slatestarcodex/comments/9x323i/applause_vs_jazz_hands/e9pbu2y/">for blind people</a></li>
</ul>
<p>All of these objections can be raised against any form of inaudible
forms of appreciation.</p>
<h3 id="Possible_new_Forms_of_Appreciation"><a class="hanchor" href="#Possible_new_Forms_of_Appreciation">Possible new Forms of Appreciation</a></h3>
<p>Since both jazz hands and complete silence, one could propose to make a
leap and engineer a new form of appretiation that doesn't need as much
noise as applause. Of course, this could carry several problems with it
that go unnoticed for a long time.</p>
<h4 id="Staying_in_the_Concert_Hall"><a class="hanchor" href="#Staying_in_the_Concert_Hall">Staying in the Concert Hall</a></h4>
<p>One new approach could be to show ones appreciation for the performance
by staying in the concert hall after the piece ends. The longer one
would stay in the concert hall, the higher an appreciation this would
entail. This is already a limited practice: to express their own extreme
dissatisfaction with a piece, listeners sometimes leave the concert hall
during a performance. However, this is rare.</p>
<p>Staying in the concert hall afterwards would make intuitive sense:
It would show that the music was so moving that listeners are still
listening to the after-sound of the piece in their mind, or are still
processing the emotional impact of the music.</p>
<h5 id="Problems"><a class="hanchor" href="#Problems">Problems</a></h5>
<p>This method would only work at the end of a concert, but would not
provide any feedback during a piece or between pieces.</p>
<p>Also, many people seem to have have a very physical reaction to good
music, which requires some form of outlet. If this is true, then perhaps
one could assume that applause is not for the musicians after all, but
for the audience to release built up energy. This also holds true if some
people have the need to whistle or humm the music after a particularly
good piece.</p>
<p>Often, listeners meet up after concerts to talk with each other about
the music and the performance. In this case, coordination would be more
difficult since talking would be prohibited after the performance.</p>
<p>Since performances of classical music mostly take place in the evening,
listeners who sit still could fall asleep after a while, making it
difficult for personnel to close the hall in an appropriate amount
of time. This would also be true with strong signals of appreciation
(staying in the concert hall for hours).</p>
<h2 id="Conclusion"><a class="hanchor" href="#Conclusion">Conclusion</a></h2>
<p>Due to the arguments discussed above, it could be worthwhile to
experiment with classical concerts by organising special events
where applause is prohibited. While it could carry some problems,
there exists a possibility of gaining a more pure experience of
the music by allowing it to stay in the mind of the listeners for
some time without being interrupted by loud applause. Research
into how applause develops and disappears (e.g. <a href="./doc/sociology/the_dynamics_of_audience_applause_mann_et_al_2013.pdf" title="The dynamics of audience applause">Mann et al.
2013</a>)
could help determine how to prevent applause from arising in the first
place.</p>
<h2 id="External_Links"><a class="hanchor" href="#External_Links">External Links</a></h2>
<ul>
<li><a href="https://cjeller.wordpress.com/2015/08/09/against-applause/">“Against Applause”</a></li>
</ul>
<!--
TODO: research this topic a lot more:
* Find out how culturally universal clapping/audible appreciation of performance is
* Find out what art theories claim about how to present art
* Similar criticisms?
* Differences of type and scope of applause in different forms of music.
* Classical concert: No applause during piece/after movement, only applause at the beginning (when musicians/director enters the stage) and after pieces
* Jazz: Applause when musicians enter the stage, applause after solos (usually), applause after pieces, applause when musicians are presented
* Hip Hop:
* Techno: Applause, if any, at the end of a piece.
* Rock:
* Punk: Mostly anything goes, since the musicians are always a lot louder than the audience. Clapping, cheering mostly after the pieces, singing along during (if known)
* https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Applause
* https://www.theguardian.com/commentisfree/2007/sep/12/comment.comment2
* http://kerrygaa.proboards.com/thread/4484/minutes-silence-applause
* http://www.footballforums.net/threads/minutes-silence-or-minutes-applause.193941/
* https://www.cpr.org/2014/06/09/the-clapping-question-should-classical-audiences-applaud-between-movements/: IMPORTANT, follow the links
* https://affirmativeright.blogspot.com/2015/03/against-applause-cultivating-aesthetic.html
* https://web.archive.org/web/20100609161055/http://library.gallaudet.edu/Library/Deaf_Research_Help/Frequently_Asked_Questions_(FAQs)/Cultural_Social_Medical/History_of_Visual_Applause_for_the_Deaf.html
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