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?
After all, I have to qualify the above proper away. Once I use the word "hypnosis" in this context I do not mean the type of passive and relaxed state which one experiences under the steerage of a hypnotherapist. What I'm referring to is simply the kind of shift within the quality of consciousness which occurs when you find yourself absorbed in 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 believe that any such shift of consciousness renders us more suggestible.
I additionally need to state the obvious. We're not puppets or computers. Whatever state of consciousness we occur to be in we do not respond instantly, totally and positively to each suggestion we encounter. And but, in hypnoidal states of consciousness, we're more suggestible than in "regular" waking consciousness. So - to restate the opening query, if music places us right into a hypnoidal state, what are the possible consequences?
Again, to state the plain, it depends upon what kind 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, folk, classical, and so on. However - and I do know this is a sweeping generalization - the majority of people, particularly younger people, listen to what sells, to what is in fashion.
Absolutely everybody on Britain who lived through the 60s, 70s and 80s will bear in mind High of the Pops on television and Alan Freeman's chart countdown show on the radio. In these days, nearly eachbody oknew - or not less than had a tough thought - which song was at Number One.
Have you learnt which track is at Number One at this moment? Me neither. But I believed I might have a fast take a look at the Prime 3 as an indication of what a substantial proportion of the inhabitants, if not the majority, are listening to at the moment. This would also give me some thought of what suggestions 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 song at Number One is: "Call Me Perhaps" by Carly Rae Jepsen. Both track and singer are unknown to me. The track, with its accompanying video, was straightforward to find online.
The singer is a thin however pretty younger lady who looks as if she is aged about 16 or 17. Presumably she is older. The tune tells a very simple story. Our heroine throws a wish right into a well and, presumably as a consequence, falls in lust with somebody wearing ripped jeans. The accompanying video makes it clear that this person is a younger man. The lyrics say nothing about him. She gives him her phone number and asks him to call her. Authentic, https://laguaz.online/download/aku-tak-punya-bunga-mp3
isn't it? The singer's voice is, like her look, 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 here that we have not heard a thousand instances before.
Number Two within the charts is a tune called "Let's Go" by Calvin Harris. The "lyrics" of this tune, if one might call them lyrics, encompass nothing more than probably the most banal string of clichés. Let's go. I am talking. It is what you are doing that matters. Let's make it happen. And that is about it. The singer is male. The voice has the same immature whining 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 presumably be more simple and shallow. The accompaniment consist of the most primary rhythms and synthesized chords. Again, there is nothing unique or distinctive about this whatsoever.
At number three is a song called "We Are Younger" by a group called "Enjoyable". The title of the music and the name of the band probably let you know all you need to know about this explicit masterpiece. The song is a couple of trivial incident in a bar. The (male) protagonist is attempting to apologize to his lover for something - the character of his misdemeanour isn't 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 details there is a recurring refrain which asserts that "we" can burn brighter than the sun. Musically, nevertheless, this appears to be the strongest of the three. The melodic line is considerably richer and more different than that of the two songs above it in the charts. The refrain, with its pounding piano, its straightforward, if completely unoriginal, harmonies and its anthemic melodic line, ensures that the piece is just a little more memorable than most such ephemeral products.