Music And Suggestibility

Music And Suggestibility

Okay: suppose - just for argument's sake - that the music individuals listen to and luxuriate in can and does put them into hypnosis. What are the implications of that?

Of course, I must qualify the above proper away. When I use the word "hypnosis" in this context I do not mean the type of passive and relaxed state which one experiences under the steering of a hypnotherapist. What I'm referring to is simply the type of shift within the high quality of consciousness which occurs when you find yourself absorbed in the music you want - whether you are gyrating on a dance flooring, amid flashing lights and ear-splitting din, or sitting quietly mesmerised by a Chopin nocturne. I imagine that any such shift of consciousness renders us more suggestible.

I also must state the obvious. We aren't puppets or computers. Whatever state of consciousness we happen to be in we do not reply immediately, absolutely and positively to each suggestion we encounter. And but, in hypnoidal states of consciousness, we're more suggestible than in "normal" waking consciousness. So - to restate the opening question, if music places us right into a hypnoidal state, what are the probably consequences?

Again, to state the plain, it depends on what sort of music you are listening to, and why. What kind of music do individuals listen to at this time? All sorts. There is an audience for jazz, people, classical, and so on. However - and I know this is a sweeping generalization - nearly all of folks, particularly youthful people, listen to what sells, to what's in fashion.

Absolutely everybody on Britain who lived by means of the 60s, 70s and 80s will keep in mind High of the Pops on television and Alan Freeman's chart countdown show on the radio. In these days, virtually everybody oknew - or a minimum of had a tough thought - which track was at Number One.

Have you learnt which tune is at Number One at this moment? Me neither. But I thought I would have a fast have a look at the Prime 3 as an indication of what a considerable proportion of the population, if not the majority, are listening to on the moment. This would also give me some concept of what solutions are being communicated by way of music.

Well - I had a rummage round online and evidently at the time of writing - April 30th 2012 - the tune at Number One is: "Call Me Maybe" by Carly Rae Jepsen. Each track and singer are unknown to me. The track, with its accompanying video, was straightforward to seek out online.

The singer is a thin however pretty younger lady who appears to be like as if she is aged about 16 or 17. Presumably she is older. The music tells a quite simple story. Our heroine throws a wish into a well and, presumably as a consequence, falls in lust with someone wearing ripped jeans. The accompanying video makes it clear that this individual is a young man. The lyrics say nothing about him. She provides him her phone number and asks him to call her. Unique, isn't it? The singer's voice is, like her look, thin and immature, with that pale, adenoidal high quality which appears to be in fashion at the moment. The melodic line is of nursery-rhyme simplicity. The accompanying music consists largely of artificial string chords and percussion. There's nothing right here that we have not heard a thousand occasions before.

Number Two in the charts is a song called "Let's Go" by Calvin Harris. The "lyrics" of this song, if one may call them lyrics, encompass nothing more than essentially the most banal string of clichés. Let's go. I am talking. It's what you're doing that matters. Let's make it happen. And that's about it. The singer is male. The voice has the same immature whining high quality of the singer at the Number One slot however with out the girlish charm. The melodic line, if it deserves such a title, could not presumably be more easy and shallow. The accompaniment consist of the most primary rhythms and synthesized chords. Once more, there's nothing unique or distinctive about this whatsoever.

At number three is a music called "We Are Younger" by a bunch called "Fun". The title of the music and the name of the band probably let you know all you could find out about this particular masterpiece. The tune is a few trivial incident in a bar. The (male) protagonist is attempting to apologize to his lover for something - the character of his misdemeanour is just not made clear. The apology would not appear to be going too well. Meanwhile our hero's friends are on the bathroom getting high on something or other. Interspersed with these sordid and trivial particulars there is a recurring chorus which asserts that "we" can burn brighter than the sun. Musically, nonetheless, this appears to be the strongest of the three. The melodic line is considerably richer and more different than that of the two songs above it in the charts. The chorus, with its pounding piano, its straightforward, if utterly unoriginal, harmonies and its anthemic melodic line, ensures that the piece is just a little more memorable than most such ephemeral products.

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