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 mean the kind of passive and relaxed state which one experiences underneath the guidance of a hypnotherapist. What I am referring to is solely the kind of shift within the quality of consciousness which occurs when you are absorbed within the music you want - whether you are gyrating on a dance flooring, amid flashing lights and ear-splitting din, or sitting quietly mesmerised by a Chopin nocturne. I consider that any such shift of consciousness renders us more suggestible.

I additionally must state the obvious. We're not puppets or computers. No matter state of consciousness we happen to be in we do not respond immediately, totally and positively to each suggestion we encounter. And but, in hypnoidal states of consciousness, we are more suggestible than in "regular" waking consciousness. So - to restate the opening query, if music places us into a hypnoidal state, what are the seemingly penalties?

Again, to state the apparent, it relies on what sort of music you are listening to, and why. What kind of music do people listen to at present? 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 youthful individuals, listen to what sells, to what's in fashion.

Certainly everybody on Britain who lived by way 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 those days, virtually eachbody oknew - or not less than had a tough concept - which music was at Number One.

Are you aware which track is at Number One at this moment? Me neither. However I thought I would have a fast take a look at the High three as an indication of what a considerable proportion of the population, if not the majority, are listening to on the moment. This would also give me some concept of what strategies are being communicated by the use of music.

Well - I had a rummage around on-line and it seems that on the time of writing - April 30th 2012 - the tune at Number One is: "Call Me Possibly" by Carly Rae Jepsen. Both tune and singer are unknown to me. The tune, with its accompanying video, was straightforward to search out online.

The singer is a thin however pretty young lady who seems as if she is aged about sixteen or 17. Presumably she is older. The song tells a very simple story. Our heroine throws a want 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 young man. The lyrics say nothing about him. She provides him her phone number and asks him to call her. Authentic, isn't it? The singer's voice is, like her appearance, 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 artificial string chords and percussion. There's nothing right here that we've not heard a thousand occasions before.

Number Two in the charts is a track called "Let's Go" by Calvin Harris. The "lyrics" of this tune, if one might call them lyrics, consist of nothing more than the most banal string of clich├ęs. Let's go. I am 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 same immature whining quality of the singer at the Number One slot but without the girlish charm. The melodic line, if it deserves such a title, couldn't presumably be more easy and shallow. The accompaniment consist of probably the most basic rhythms and synthesized chords. Once more, there's nothing authentic or distinctive about this whatsoever.

At number three is a song called "We Are Younger" by a gaggle called "Fun". The title of the song and the name of the band in all probability tell you all it's worthwhile to learn about this explicit masterpiece. The music is a few trivial incident in a bar. The (male) protagonist is making an attempt to apologize to his lover for something - the nature of his misdemeanour just isn't made clear. The apology doesn't appear 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 particulars there's a recurring chorus 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 diversified than that of the two songs above it within the charts. The chorus, with its pounding piano, its straightforward, if utterly unoriginal, harmonies and its anthemic melodic line, ensures that the piece is somewhat more memorable than most such ephemeral products.