Music And Suggestibility

Music And Suggestibility

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

Of course, I must qualify the above right away. Once I use the word "hypnosis" in this context I do not mean the sort of passive and relaxed state which one experiences under the steering of a hypnotherapist. What I am referring to is solely the sort of shift within the quality of consciousness which happens if you find yourself absorbed within the music you like - whether or not you are gyrating on a dance floor, 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 must state the obvious. We aren't puppets or computers. No matter state of consciousness we occur to be in we do not respond instantly, totally and positively to each suggestion we encounter. And yet, in hypnoidal states of consciousness, we're more suggestible than in "normal" waking consciousness. So - to restate the opening question, if music puts us into a hypnoidal state, what are the seemingly penalties?

Again, to state the plain, it relies on what kind of music you're listening to, and why. What sort of music do folks listen to as we speak? All sorts. There is an viewers for jazz, people, classical, and so on. But - and I know this is a sweeping generalization - the majority of people, especially youthful folks, listen to what sells, to what's in fashion.

Surely everybody on Britain who lived by way of the 60s, 70s and 80s will bear in mind Prime of the Pops on television and Alan Freeman's chart countdown show on the radio. In these days, almost everybody okaynew - or at the very least had a rough thought - which tune was at Number One.

Have you learnt which tune is at Number One at this moment? Me neither. However I believed I might have a fast take a look at the High 3 as an indication of what a substantial proportion of the inhabitants, if not the bulk, are listening to on the moment. This would also give me some concept of what recommendations are being communicated by means of music.

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

The singer is a thin but fairly young woman who appears to be like as if she is aged about sixteen or 17. Presumably she is older. The track 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 particular person is a younger man. The lyrics say nothing about him. She gives him her phone number and asks him to call her. Original, is not it? The singer's voice is, like her appearance, thin and immature, with that pale, adenoidal quality which appears 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 right here that we haven't heard a thousand instances before.

Number Two in the charts is a track called "Let's Go" by Calvin Harris. The "lyrics" of this music, if one may call them lyrics, consist of nothing more than essentially the most banal string of clich├ęs. Let's go. I'm 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 possibly be more easy and shallow. The accompaniment consist of essentially the most basic rhythms and synthesized chords. Again, there's nothing original or distinctive about this whatsoever.

At number three is a song called "We Are Young" by a bunch called "Enjoyable". The title of the track and the name of the band in all probability let you know all you need to 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 character of his misdemeanour just isn't made clear. The apology does not appear to be going too well. Meanwhile our hero's mates 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, nonetheless, this seems to be the strongest of the three. The melodic line is considerably richer and more diversified than that of the two 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 bit more memorable than most such ephemeral products.