Of course, I have to qualify the above proper away. After I use the word "hypnosis" in this context I don't mean the type of passive and relaxed state which one experiences below the guidance of a hypnotherapist. What I'm referring to is just the form of shift within the quality of consciousness which happens if you find yourself absorbed in the music you like - 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 imagine that any such shift of consciousness renders us more suggestible.
I additionally must state the obvious. We aren't puppets or computers. Whatever state of consciousness we happen to be in we do not reply immediately, totally and positively to every suggestion we encounter. And yet, in hypnoidal states of consciousness, we're more suggestible than in "normal" waking consciousness. So - to restate the opening query, if music puts us into a hypnoidal state, what are the likely penalties?
Again, to state the plain, it is dependent upon what sort of music you're listening to, and why. What kind of music do individuals listen to as we speak? All sorts. There's an audience for jazz, people, classical, and so on. But - and I do know this is a sweeping generalization - nearly all of folks, especially younger individuals, listen to what sells, to what's in fashion.
Absolutely everybody on Britain who lived through the 60s, 70s and 80s will keep in mind Top of the Pops on television and Alan Freeman's chart countdown show on the radio. In these days, virtually everybody okaynew - or at least had a rough thought - which song was at Number One.
Are you aware which tune is at Number One at this moment? Me neither. But I thought I'd have a fast have a look at the Prime 3 as a sign of what a considerable proportion of the population, if not the bulk, are listening to on the moment. This would additionally give me some thought of what suggestions are being communicated by way of music.
Well - I had a rummage round online and plainly on the time of writing - April 30th 2012 - the tune at Number One is: "Call Me Perhaps" by Carly Rae Jepsen. Both music and singer are unknown to me. The tune, with its accompanying video, was straightforward to seek out online.
The singer is a thin but pretty young lady who appears as if she is aged about 16 or 17. Presumably she is older. The tune 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 offers him her phone number and asks him to call her. Authentic, is not it? The singer's voice is, like her look, thin and immature, with that pale, adenoidal high 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 haven't heard a thousand instances before.
Number Two in the charts is a tune called "Let's Go" by Calvin Harris. The "lyrics" of this track, if one might call them lyrics, consist of nothing more than the most banal string of clichés. Let's go. I'm talking. It's 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 without the girlish charm. The melodic line, if it deserves such a title, couldn't possibly be more easy and shallow. The accompaniment encompass the most fundamental rhythms and synthesized chords. Once more, there's nothing original or distinctive about this whatsoever.
At number three is a music called "We Are Young" by a group called "Enjoyable". The title of the music and the name of the band in all probability tell you all you need to know about this specific masterpiece. The song is a few trivial incident in a bar. The (male) protagonist is attempting to apologize to his lover for something - the nature of his misdemeanour is just not made clear. The apology would not seem 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 is 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 diverse than that of the 2 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.
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