The Emperor Nero sang so badly that he had to pay Alexandrian youths to applaud him. In the 18th century ladies fluttered their fans to show their appreciation. With the arrival of public venues for music-making, audiences slowly learned the formal applause rituals that still largely prevail today (although not at pop concerts!). But Mozart didn't mind when an audience clapped during his music and French opera in the 19th century was renowned for its 'claques' of professional applauders who would do almost anything for money.

Clappers hears from a psychologist about just why we clap, and from an American researcher who has analysed the strange phenomenon of rhythmic applause which starts at the end of performances as if by magic. There are also insights from the worlds of Indian classical music and flamenco on alternatives to Western traditions of applause.

Are audiences of today dull and lifeless applauders, merely going through the motions of established rituals by clapping just at the 'right' moments? They liven things up at one concert series in Germany where you're allowed to clap and boo at the same time.

Among the contributors: conductors Christopher Hogwood and Robert King, flamenco guitarist Paco Pena, violinist Andrew Watkinson and promenaders at the Royal Albert Hall. Locations include the Roman Theatre in St Albans; St Francis Church Welwyn Garden City, where the choir recreates the sound of Nero's applauders; and the British Museum, where dozens of ancient Egyptian 'clappers' are to be found, locked away.

 Listen again to this programme.