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?
Of course, I need to qualify the above proper away. After 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 just the kind of shift within the quality of consciousness which happens when you find yourself absorbed in the music you like - whether or https://laguaz.online/waktu-yang-salah-tami-aulia-fiersa-besari-lirik-mp3
not 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 have to state the obvious. We aren't puppets or computers. No matter state of consciousness we happen to be in we don't respond instantly, fully and positively to every suggestion we encounter. And but, in hypnoidal states of consciousness, we're more suggestible than in "normal" waking consciousness. So - to restate the opening question, if music places us into a hypnoidal state, what are the seemingly penalties?
Again, to state the apparent, it is determined by what sort of music you're listening to, and why. What sort of music do individuals listen to in the present day? All sorts. There may be an audience for jazz, people, classical, and so on. However - and I know this is a sweeping generalization - the vast majority of people, particularly younger people, listen to what sells, to what's in fashion.
Certainly everyone on Britain who lived by 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 those days, virtually eachbody knew - or at the very least had a tough idea - which music was at Number One.
Are you aware which song is at Number One at this second? Me neither. However I assumed I might have a quick take a look at the Top three as a sign 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 suggestions are being communicated via music.
Well - I had a rummage round online and plainly on the time of writing - April thirtieth 2012 - the track at Number One is: "Call Me Possibly" by Carly Rae Jepsen. Both tune and singer are unknown to me. The track, with its accompanying video, was simple to seek out online.
The singer is a thin however pretty young lady who seems to be as if she is aged about 16 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 somebody wearing ripped jeans. The accompanying video makes it clear that this individual is a younger man. The lyrics say nothing about him. She offers him her phone number and asks him to call her. Original, isn't 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 occasions before.
Number Two in the charts is a song called "Let's Go" by Calvin Harris. The "lyrics" of this tune, if one could call them lyrics, encompass nothing more than essentially the most banal string of clichés. Let's go. I am 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 on 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 probably the most primary rhythms and synthesized chords. Again, there is nothing authentic or distinctive about this whatsoever.
At number three is a song called "We Are Younger" by a group called "Fun". The title of the track and the name of the band most likely let you know all you want to find out about this specific masterpiece. The tune 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 does 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 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 varied than that of the two songs above it within the charts. The chorus, with its pounding piano, its straightforward, if totally unoriginal, harmonies and its anthemic melodic line, ensures that the piece is somewhat more memorable than most such ephemeral products.