Music And Suggestibility

Music And Suggestibility

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

After all, I have to qualify the above proper away. When I use the word "hypnosis" in this context I do not mean the kind of passive and relaxed state which one experiences under the guidance of a hypnotherapist. What I am referring to is simply the form of shift in the quality of consciousness which happens if you end up absorbed within the music you like - whether or not you're gyrating on a dance ground, amid flashing lights and ear-splitting din, or sitting quietly mesmerised by a Chopin nocturne. I believe that any such shift of consciousness renders us more suggestible.

I additionally must state the obvious. We are not puppets or computers. Whatever state of consciousness we occur to be in we don't reply instantly, absolutely and positively to every suggestion we encounter. And but, in hypnoidal states of consciousness, we're more suggestible than in "regular" waking consciousness. So - to restate the opening question, if music places us right into a hypnoidal state, what are the possible penalties?

Once more, to state the obvious, it will depend on what sort of music you're listening to, and why. What kind of music do individuals listen to immediately? All sorts. There may be an audience for jazz, people, classical, and so on. But - and I do know this is a sweeping generalization - the majority of people, particularly younger folks, listen to what sells, to what is in fashion.

Surely everybody on Britain who lived by way of the 60s, 70s and 80s will keep in mind Prime of the Pops on television and Alan Freeman's chart countdown show on the radio. In these days, virtually everybody knew - or at the very least had a tough concept - which song was at Number One.

Are you aware which music is at Number One at this second? Me neither. But I believed I'd have a fast have a look at the High 3 as a sign of what a substantial proportion of the population, if not the majority, are listening to at the moment. This would also give me some thought of what ideas are being communicated by way of music.

Well - I had a rummage around online and it appears that evidently on the time of writing - April 30th 2012 - the song at Number One is: "Call Me Possibly" 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 but pretty young lady who appears to be like as if she is aged about sixteen or 17. Presumably she is older. The song tells a very simple story. Our heroine throws a wish into a well and, presumably as a consequence, falls in lust with somebody 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. Authentic, is not it? The singer's voice is, like her appearance, thin and immature, with that pale, adenoidal quality which seems to be in fashion on the moment. The melodic line is of nursery-rhyme simplicity. The accompanying music consists largely of artificial string chords and percussion. There is nothing here that we have not heard a thousand occasions before.

Number Two within the charts is a tune called "Let's Go" by Calvin Harris. The "lyrics" of this song, if one could call them lyrics, consist of nothing more than essentially the most banal string of clichés. Let's go. I'm 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 identical immature whining quality of the singer at the Number One slot but with out the girlish charm. The melodic line, if it deserves such a title, couldn't possibly be more simple and shallow. The accompaniment encompass probably the most primary rhythms and synthesized chords. Once more, there is nothing unique or distinctive about this whatsoever.

At number three is a track called "We Are Young" by a group called "Fun". The title of the song and the name of the band most likely inform you all you should find out about this explicit masterpiece. The tune is a couple of 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 doesn't seem to be going too well. Meanwhile our hero's pals are on the bathroom getting high on something or other. Interspersed with these sordid and trivial particulars there's a recurring refrain which asserts that "we" can burn brighter than the sun. Musically, however, this appears to be the strongest of the three. The melodic line is considerably richer and more diverse than that of the two 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 of more memorable than most such ephemeral products.