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Concert etiquette refers to a set of social norms observed by those attending musical performances. These norms vary depending upon the type of music performance and can be stringent or informal. ==Western classical music== At classical music concerts, the cardinal principle is to let others listen to the music undisturbed. Instruments and voices are typically unamplified, and the music is rich in detail and includes passages played very softly. Many audience members want to hear everything, and the normal standard of courtesy is simply to be entirely silent while the music is playing. Thus, during this time experienced concertgoers avoid conversation, try to suppress coughs and sneezes until a loud passage arrives, and muffle these with handkerchiefs. Electronic devices are turned off. Concertgoers try to arrive and take seats before the music begins; late arrivals wait until a break between pieces allows seating by an usher. Dress expectations for the audience are today rather informal in English-speaking countries. Audiences usually meet "smart casual" standards, with some performance companies explicitly telling audiences to wear whatever makes them comfortable.〔(National Ballet of Canada. ) Accessed 14 March 2009.〕〔(Canadian Opera Company. ) Accessed 14 March 2009.〕 Hats are removed as they block others' view of the stage. Dress expectations may still be very formal for special events, events that are difficult to attend, that take place in traditional venues, or that take place in certain countries.〔(Do’s and don’ts of Bayreuth’s Wagner Fest ) July 30, 2013〕〔The Glyndebourne Festival has traditionally encouraged its audiences to dress formally (black tie for men); ().〕 Concert etiquette has, like the music, evolved over time. Late eighteenth-century composers such as Mozart expected that people would talk, particularly at dinner, and took delight in audiences clapping at once in response to a nice musical effect.〔Robert Spaethling, ''Mozart's Letters, Mozart's Life'', p. 160.〕 Individual movements were encored in response to audience applause. The nineteenth century brought a shift in venue from aristocratic gatherings to public concerts along with works featuring an unprecedentedly wide dynamic range. Mahler clamped down on claques paid to applaud a particular performer, and specified in the score of his ''Kindertotenlieder'' that its movements should not be punctuated by applause.〔(【引用サイトリンク】Alex Ross">title=''The Rest Is Noise: Applause'' )〕 Wagner discouraged what he considered distracting noises from his audience at Bayreuth in 1882. With the arrival of recording technology in the twentieth century, applause between the movements of a symphony or suite came to be regarded as a distraction from the momentum and unity of a work. Today it is usually considered something of a faux pas, though a minor and well-meaning one.〔Since applause is delayed to the end of the final movement, audiences sometimes need to guess (usually guided by a printed program) that the movement they are hearing is indeed the last one. Often, final movements give their listeners clear sonic cues to this effect. A a non-final movement that "sounds final" (notably, the third movement of Tchaikovsky's Sixth Symphony ''Pathétique'') is likely to be applauded against convention.〕 Sometimes it is the purpose of the conductor to maintain a fairly long silence after the last notes of a piece; this is an especially likely choice for pieces with quiet endings. The audience can be signaled not to applaud immediately through the device of the conductor keeping her hands lifted (as if still leading the orchestra), then lowering them when the intended silence is over. Thus in a way the conductor is "conducting the audience" as part of a performance ritual. Such efforts are usually heeded, at least by experienced audiences. Sacred works offered as worship are not applauded. Such works include settings of requiem, Passion, mass, or Kaddish prayer. Presented in an artistic context, such works, along with secular works of comparable gravity, still often get respectful silence for a long moment before any applause. In opera a particularly impressive aria will often be applauded, even if the music is continuing. Shouting is generally acceptable only during applause. The word shouted is often the Italian word ''bravo'' or a variation (''brava'' in the case of a female performer, ''bravi'' for a plural number of performers, ''bravissimo'' for a truly exceptional performance). The word's original meaning is "skillful" and it has come to mean "well done". The French word ''encore'' ("again") may be shouted as a request for more, although in France itself ''bis'' ("twice") is the more usual expression. In some cultures (e.g., Britain) enthusiastic approval can also be expressed by whistling, though in others (e.g., Italy, Russia) whistling can signify disapproval and act as the equivalent of booing. Collapses of decorum have occurred often in music history. In 1861 a Paris performance of Richard Wagner's opera ''Tannhäuser'' was deliberately sabotaged by audience members bringing noisemakers.〔(Tannhäuser (Tannhäuser und der Sängerkrieg auf Wartburg) )〕 The premiere of Stravinsky's ballet ''The Rite of Spring'' in 1913 prompted catcalls and whistles from the crowd that degenerated into fistfights in the aisles and police intervention. Steve Reich's ''Four Organs'' at Carnegie Hall in 1973 featured audience members sarcastically applauding and shouting to hasten the end of the performance.〔(【引用サイトリンク】author=Steve Reich )〕 Conductor Michael Tilson Thomas recalls a woman walking down the aisle and beating her head against the front of the stage, wailing "Stop, stop! I confess!" 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「concert etiquette」の詳細全文を読む スポンサード リンク
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