This first clip shows traditional polka dancing at a wedding, which is the only setting where I have ever personally experienced polka dancing.  I have a large family on both my father's and mother's sides, so I have been to many weddings for cousins along with those for family friends. Many times I have watched couples take the floor as the polka music begins to play. They start to skip around the dance floor in the typical polka-dance fashion, and as the repetitive melody continues to play, more and more people, young and old, get out on the dance floor as well. Polka dancing is a form of participatory music in the fact that there are only participants and potential participants. Anyone can get out there and dance if they so desire. The musicians play a continuous, densely-textured tune to which people can dance for a prolonged period of time. And if the musicians are not doing a good job performing a danceable tune, nobody will get out there to perform the polka dance, reflecting poorly upon the musicians. The participatory dynamic limits the amount of variation that the musicians can perform. However, the potential for a large amount of people to find enjoyment in participation is what is most important and is what is clearly the most prominent aspect of this musical event. Men and women of all age groups are potential participants, and if they were not performing, the other half of this spectacle (the musical aspect) would have difficulty sustaining people's interest.





     This next video exemplifies presentational music extremely well. There is a clear distinction between the performers, Imagine Dragons and Kendrick Lamar, compared with the audience. The audience has clearly come to listen and watch this performance. They may be dancing or singing along, which is allowed for by the frame of the event, but this is not the main aspect of the performance. The audience's participation is limited in this sense. The emphasis is very much so placed on Imagine Dragons and Kendrick Lamar. The presentational dynamic of this performance allows for artistic expression by the musicians, and the mixing of these two songs is a clear variation from the two artists' styles. The choreography, the lights, the smoke, and the musical performance itself all had to be rehearsed thoroughly to put together this amazing performance.

 



     This recording of "Bad" by U2 serves as an example of high fidelity music. The purpose of this recording is to index a live performance of U2. The song is strictly in sonic form: there are no performers and no visuals. But the instruments and Bono's singing provide for the necessary variation required to hold the listener's interest. The high fidelity form of this musical performance allows for this to be a commodified object. With this form, artist-audience interaction is limited, but there is the potential for many different interpretations and connections to be made by the audience depending on when they heard it and how they were feeling at that time.





     This last video depicts a form of studio audio art. No person would be able to perform these sounds with the use of voice or instrumentation or any other conventional device for making musical sounds. These sounds are computer generated and performed by computers through human manipulation. This DJ, deadmau5, has complete control over the finished, abstract product of his work. He has the potential to make whatever sounds he wants, but again there are limitations placed on artist-audience interaction. These sounds are really not human-like, allowing for little to no human interaction.