Clips of Applause


Davis, Miles, Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams, perfs. “Autumn Leaves.” Rec. 1964. N.d. YouTube. 9 Nov. 2010. Web. 14 Apr. 2013. <>.

Fowlis, Julie. Rec. 2006. N.d. YouTube. 17 Oct. 2006. Web. 14 Apr. 2013. <>.

Johnson, Matt. “Yea Yeah.” Perf. Kim Schifino. Rec. 30 Apr. 2008. Matt & Kim. N.d.YouTube. 5 May 2008. Web. 14 Apr. 2013. <>.

Li, Yundi, perf. “Chopin Nocturne Op. 9 No. 2.” Frederick Chopin. N.d. YouTube. 31 May 2006. Web. 14 Apr. 2013. <>.

Rapper, Chance The. Chance the Rapper Talks about Interpretations of Acid Rain, Fan Base outside of Chicago, SXSW. N.d. YouTube. 23 Mar. 2013. Web. 14 Apr. 2013. <>.

Watsky, and Dumbfoundead. Rec. 18 July 2012. Watsky Freestyle Jam with Dumbfoundead and Breezy Lovejoy Band. Breezy Lovejoy Band. N.d. YouTube. 19 July 2012. Web. 14 Apr. 2013. <>.

White, Jack. “Seven Nation Army.” Perf. Meg White. By Jack White. Rec. 2007. The White Stripes. N.d. YouTube. 9 Aug. 2010. Web. 14 Apr. 2013. <>.


4 thoughts on “Clips of Applause

  1. Audience interaction often becomes synonymous with a certain performance. One that comes to mind is the 1965 Newport Folk Festival where Bob Dylan played with an electric guitar as part of a rock based song. The performance is famous for its “boos” that are most commonly believed to be because folk fans hated the electric sound. Some theorists believe the cause was the poor sound quality. What if the fans “enjoyed” that performance instead of hated it? Music history is not only shaped by the visionary musicians, but also by the visionary fans willing to accept the change.

  2. The concept of applause always seemed very singular to me, sort of a natural response that was uniform across genre, culture, etc. The variations your research has shown exist are very intriguing.

  3. How do you think recorded music complicates the relationship between the performer and the audience? Does any relationship exist if a piece is not being heard live?

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