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Music And Suggestibility
Music And Suggestibility

Author: Music And Suggestibility

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

After all, I have to qualify the above proper away. Once I use the word "hypnosis" in this context I don't mean the form of passive and relaxed state which one experiences under the guidance of a hypnotherapist. What I am referring to is solely the form of shift in the high quality of consciousness which happens if you end up absorbed within the music you like - whether or not you are gyrating on a dance ground, 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. No matter state of consciousness we happen to be in we don't respond instantly, totally and positively to every suggestion we encounter. And but, in hypnoidal states of consciousness, we are more suggestible than in "regular" waking consciousness. So - to restate the opening question, if music puts us into a hypnoidal state, what are the likely consequences?

Again, to state the plain, it is dependent upon what kind of music you are listening to, and why. What kind of music do folks listen to right now? All sorts. There is an viewers for jazz, folks, classical, and so on. However - and I know this is a sweeping generalization - the majority of people, especially younger folks, listen to what sells, to what's in fashion.

Certainly everyone on Britain who lived through the 60s, 70s and 80s will remember Top of the Pops on television and Alan Freeman's chart countdown show on the radio. In those days, nearly everybody oknew - or not less than had a tough thought - which song was at Number One.

Do you know which music is at Number One at this moment? Me neither. However I assumed I would have a fast have a look at the Prime three as a sign of what a considerable proportion of the population, if not the bulk, are listening to on the moment. This would additionally give me some concept of what suggestions are being communicated by the use of music.

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

The singer is a thin however fairly young woman who appears as if she is aged about 16 or 17. Presumably she is older. The song tells a quite simple story. Our heroine throws a wish right 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 gives him her phone number and asks him to call her. Unique, is not it? The singer's voice is, like her appearance, thin and immature, with that pale, adenoidal high quality which seems to be in fashion at the moment. The melodic line is of nursery-rhyme simplicity. The accompanying music consists largely of synthetic string chords and percussion. There is nothing right here that we have not heard a thousand instances before.

Number Two within the charts is a tune called "Let's Go" by Calvin Harris. The "lyrics" of this track, if one might call them lyrics, encompass nothing more than probably the most banal string of clichés. Let's go. I'm talking. It's what you are doing that matters. Let's make it happen. And that is 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, couldn't probably be more simple and shallow. The accompaniment encompass the most basic rhythms and synthesized chords. Again, there may be nothing authentic or distinctive about this whatsoever.

At number three is a music called "We Are Young" by a group called "Fun". The title of the tune and the name of the band in all probability inform you all you must learn about this explicit masterpiece. The music is a couple of trivial incident in a bar. The (male) protagonist is trying to apologize to his lover for something - the character of his misdemeanour just isn't 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 refrain which asserts that "we" can burn brighter than the sun. Musically, nevertheless, this seems to be the strongest of the three. The melodic line is considerably richer and more varied than that of the 2 songs above it in the charts. The chorus, with its pounding piano, its straightforward, if completely unoriginal, harmonies and its anthemic melodic line, ensures that the piece is a bit more memorable than most such ephemeral products.
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