Music And Suggestibility

Music And Suggestibility

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

In fact, I must qualify the above proper away. After I use the word "hypnosis" in this context I do not mean the kind of passive and relaxed state which one experiences below the steerage of a hypnotherapist. What I'm referring to is just the kind of shift within the high quality of consciousness which occurs if you find yourself absorbed within the music you want - whether or not you're gyrating on a dance flooring, 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 also need to state the obvious. We aren't puppets or computers. Whatever state of consciousness we happen to be in we don't respond 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 likely penalties?

Once more, to state the obvious, it will depend on what sort of music you are listening to, and why. What kind of music do people listen to at present? All sorts. There is an viewers for jazz, folk, classical, and so on. But - and I do know this is a sweeping generalization - the majority of folks, particularly youthful folks, listen to what sells, to what's in fashion.

Certainly everyone on Britain who lived via 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, almost eachbody oknew - or no less than had a tough concept - which track was at Number One.

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

Well - I had a rummage round on-line and evidently on the time of writing - April thirtieth 2012 - the music at Number One is: "Call Me Possibly" by Carly Rae Jepsen. Each tune and singer are unknown to me. The music, with its accompanying video, was simple to search out online.

The singer is a thin however fairly young woman who looks as if she is aged about sixteen 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. Authentic, is not it? The singer's voice is, like her appearance, thin and immature, with that pale, adenoidal high quality which appears to be in fashion on the moment. The melodic line is of nursery-rhyme simplicity. The accompanying music consists largely of synthetic string chords and percussion. There may be nothing here that we haven't heard a thousand instances 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, consist of 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's 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, could not possibly be more simple and shallow. The accompaniment consist of probably the most primary rhythms and synthesized chords. Again, there may be nothing authentic or distinctive about this whatsoever.

At number three is a track called "We Are Young" by a bunch called "Enjoyable". The title of the music and the name of the band in all probability tell you all you have to know about this specific masterpiece. The music is about a trivial incident in a bar. The (male) protagonist is trying to apologize to his lover for something - the character of his misdemeanour is not made clear. The apology would not seem to be going too well. Meanwhile our hero's associates 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 seems to be the strongest of the three. The melodic line is considerably richer and more various than that of the 2 songs above it in the charts. The chorus, with its pounding piano, its straightforward, if totally unoriginal, harmonies and its anthemic melodic line, ensures that the piece is a little bit more memorable than most such ephemeral products.