Music And Suggestibility

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?

In fact, I have to qualify the above right away. When I use the word "hypnosis" in this context I don't imply the sort of passive and relaxed state which one experiences below the steerage of a hypnotherapist. What I'm referring to is solely the sort of shift within the quality of consciousness which happens if you end up absorbed in the music you like - whether you're gyrating on a dance flooring, amid flashing lights and https://laguaz.online/betrand-peto-titip-rindu-buat-ayah-mp3 ear-splitting din, or sitting quietly mesmerised by a Chopin nocturne. I consider that any such shift of consciousness renders us more suggestible.

I also need to state the obvious. We aren't puppets or computers. No matter state of consciousness we occur to be in we don't respond immediately, fully and positively to each suggestion we encounter. And but, in hypnoidal states of consciousness, we are more suggestible than in "normal" waking consciousness. So - to restate the opening query, if music places us right into a hypnoidal state, what are the doubtless consequences?

Once more, to state the apparent, it depends on what kind of music you are listening to, and why. What kind of music do individuals listen to in the present day? All sorts. There may be an viewers for jazz, folks, classical, and so on. However - and I do know this is a sweeping generalization - the majority of people, especially younger folks, listen to what sells, to what's in fashion.

Absolutely everyone on Britain who lived by means of the 60s, 70s and 80s will remember High of the Pops on television and Alan Freeman's chart countdown show on the radio. In these days, virtually eachbody oknew - or at the very least had a rough concept - which song was at Number One.

Have you learnt which track is at Number One at this second? Me neither. However I assumed I'd have a quick have a look at the Top three as a sign of what a substantial proportion of the population, if not the bulk, are listening to on the moment. This would additionally give me some thought of what strategies are being communicated by means of music.

Well - I had a rummage round on-line and it seems that at the time of writing - April 30th 2012 - the tune at Number One is: "Call Me Perhaps" by Carly Rae Jepsen. Each tune and singer are unknown to me. The track, with its accompanying video, was easy to find online.

The singer is a thin however pretty young lady who appears as if she is aged about sixteen or 17. Presumably she is older. The tune tells a very simple story. Our heroine throws a want 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 person is a younger man. The lyrics say nothing about him. She offers him her phone number and asks him to call her. Unique, is not it? The singer's voice is, like her look, thin and immature, with that pale, adenoidal 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's nothing here that we've not heard a thousand instances before.

Number Two in the charts is a music called "Let's Go" by Calvin Harris. The "lyrics" of this music, if one might call them lyrics, encompass nothing more than probably the most banal string of clichés. Let's go. I am talking. It is what you're 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 on the Number One slot however with out the girlish charm. The melodic line, if it deserves such a title, could not probably be more simple and shallow. The accompaniment consist of probably the most primary rhythms and synthesized chords. Again, there's nothing original or distinctive about this whatsoever.

At number three is a music called "We Are Young" by a group called "Fun". The title of the song and the name of the band most likely tell you all you must learn about this particular masterpiece. The track is a few trivial incident in a bar. The (male) protagonist is trying to apologize to his lover for something - the nature of his misdemeanour shouldn't be made clear. The apology does not seem to be going too well. Meanwhile our hero's mates are on the toilet getting high on something or other. Interspersed with these sordid and trivial details there's 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 assorted than that of the 2 songs above it within the charts. The refrain, with its pounding piano, its straightforward, if completely unoriginal, harmonies and its anthemic melodic line, ensures that the piece is slightly more memorable than most such ephemeral products.


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