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>>> "give me the making of the songs of a nation and I care not who make it laws." <<<
This reminded me of a certain phrase by a certain parasite (and you being a regular visitor of DP surely know of what I speak). This and the fact that you created this thread in the subforum called 'Math' threw me off a bit. But let me explain in more detail.
It is not a secret that music affects the way we think. Classical music helps think clearly and without distractions, while rock music disrupts any brain activity. It doesn't take much to imagine possibilities of beneficial or detrimental application of these simple facts. And, naturally, there were people who thought exactly that and thus made certain developments in this area. And as per usual - initially good ideas got in the hands of social parasites. So here goes one example:
Let's start by saying that so-called 'modern' music is not really modern at its base. Its rhythmic base known as 'beat' was taken from temple practice in Near East and 'ancient' Greece - cults such as those of Vaal and Dionis. And harmonic build comes from Rosenkreutz (not sure of proper spelling) mysticism. Modern take on these phenomena was described in 1940 in books of Theodore Wiesengrund-Adorno, who left Germany for England in 1934.
Known philosopher and culturologist, adept of Frankfurt's school, studied in Vienna's University. Studied music under the composer A. Berg. Adorno was teaching in Frankfurt's University since 1931 (he returned there in 1949), but had to emigrate in 1934. Since 1938 he worked in USA. Main concern of his work waas philosophical understanding of musical composition.
As example of his heritage we can use the book "The Authoritarian Personality" in which he proclaims that white families is a pathology, while normal situation is where kids run away from home after conflict from parents and since no longer tied to the family. This book is considered a classic in terms of sociology and is used as base for courses in universities to date.
Rosenkreutz musical theory is quite peculiar. They thought that Light of God, which originates from true Sun - Black Sun - which is hidden under Sun's corona, reflects (in part - like mirror, in part - with phase shift) from the center of the Earth, which contains 'the throne of Lucifer'. Coming 'from Heaven to Earth' light assumes 7-base structure (according to the number of 'celestial spheres'), and when it comes back - it assumes 12-base stucture (initial 7 plus 5 coming from shift). Thius two systems of notes: 7-base or 'tone'/'orphic'/'white' and 12-base or 'atone'/'dionisic'/'black' (This shown in the structure of a piano - 7 white and 5 black keys in every octave).
So technically Adorno didn't really conjured up something completely new. He just used old teachings on a new technical level. Though certain talent in using said teachings is undeniable. He wrote all the most known lyrics for 'Beatles'. His death marked the end of all notable creativity for the group including their very existense as group.
Adorno has become one of the founders of 'musical drug' which is 'modern' music. So how it works?
The answer is mathematics. Material bodies are succeptable to vibration and resonanse - it's a part of life how we know it but don't neccessarity look at from this angle. Said vibrations and resonanses can be destructive. That was among main lines in Rosenkreutz Musical Theory. Destructive 'atone' was put by Adorno and his co-workers in the foundation of 'modern guitar music'. However silly it may seem, actual 'rock culture' or 'culture of young protest' wasn't created by a buch of hairy smelly slackers from dirty edges of Liverpool, but by prim professors from Tavistock Institute of Human Relations (spelling may be wrong here).
Very imporant role in the 'new music' plays drum rhythm - 'beat', which affects brain especially heavily in areas related to concentration and attention. Beat's effect is comparable to light drugs - a slight vertigo, supression of consciousness, dissolution of consciousness in emotions and feelings.
Second factor is 'bass' - instruments and electronic synthesators , creating low and very low (to 60 Hz) acoustic vibrations. Bass affects spinal fluid and adrenalin-insulin balance, provoking inadequate aggression and elevated salacity. Typical mess masde by avid rock fans is the direct consequence of bass. There is a reason to also tie bass to suicide provocation. Statistics says that in first half of 20th century suicides in USA were most common among elderly people. Yet starting from 60's suicide victims average age started lowering dramatically. From 1972 to 1987 relative number of teenager suicides increased by 53%. Although it maybe a coincidence that this period is also considered to be a 'golden age' for 'new music'. Or maybe it's a combination of factors.
Third factor is light. That is why any 'serious' music group carries around (or orders) tons of light equipment. Colored lights, laser show, etc. are supposed to enhance the effect of music. And such thing as stroboscope comes to the scene directly from hypnotherapist office.
Metallic dishes that imitate cymbals also have a strong psychotropic effect. These are borrowed from Finikian ecstatic dances. In 'techno' music use of these is elevated to whole new level, in this case they overpower bass.
All that shows that at the foundation 'new music' is a strong psychotropic 'pill' , made to affect human brain and ineer secretion glands through audial and acoustic pressure. As a result - consciousness becomes supressed as if by 'light' drugs.
Additionally, the state of mind comparable to the effect of drugs along with an example by musicians (lyrics, clothes, attitude) creates a strong drug propaganda and helps audience to get rid of psychological barrier about usage of drugs.
So why all this? There are at least three answers.
First. It's a good business. This 'industry' is no more than sale of air (or its vibrations to be precise). Astronomical fortunes are accumulated in an instant. Rock and pop 'star' fees are no secret - it's hundreds and millions of dollars. Think about how much those who 'lights' these 'stars' leave for themselves.
Second. 'New music' yet again is a very strong promotion for 'classic' drugs. And that is yet again - millions and billions (and it's illogical to think that these billions are shared by many-many dealers - main gesheft goes to relatively small group of individuals).
Third. Let's not forget SOCIAL function of 'new music' and its narcotic effect. Introduction of said music in 'crazy 60s' is not a coincidence. All these bourgeois democracies were at the brink of total failure. And this music abuse and stupefication was a great opportunity to keep power. The fact that energy was directed from social-political sphere into stupid, dirty and junky 'sphere' is their big victory over humanity. A big step towards something that some people like to call the New world Order.
There are of course other "Made in England" groups for whom Adorno and his co-workers 'assisted'.
Deep Purple, Rolling Stones, Pink Floyd, Led Zeppelin, Dire Straits, Black Sabbath, Iron Maiden, Queen, Def Leppard, Nazareth, Genesis - who can imagine rock history without this British groups? Only non-British group to measure up to their 'standard' was KISS (Kids In Satan Service), created in 1973 supposedly with the help of Kissinger (arguably even named after him). One has to wonder whether leadership of british groups can be credited to Tavistock.
Stupefied people are easier to control. There is an important feature of rock music - try to force upon people a constant feeling of rock 'in the air', like ambient everpresent music, such as we normally hear in supermarkets and whatnot. And as an inevitable addition to advertisements.
When in a room with non-smokers someone starts to smoke and being asked to stop - he stops. It would be good if people also realized that the right for silence, for lack of ugly constant harmonics of rock in the air, is no different from right not to inhale radioactive polonium, ammonia and all other chemicals present in cigarette smoke. Yet something defiantly stands in the way. So what gives?
Easy answer can be found in works of S. Kara-Murza. "... to prevent creation of independent groups of elite (educated class) in masses of those under control, they have to be deprived of silence. That is how phenomenon of 'democracy of noise' occured in the West. Space around introduced to a such an audial and noise design so average person doesn't have enough periods of silence to have a full finished thought. And while he cannot concentrate he has to hold onto an interpretation he's being told. This is an important condition of his helplessness against manipulation of consciousness. Elite, on the contrary, values silence and has means to live outside of 'democracy of noise'."
Think about how often any of us is left in the silence alone? How many of us have a radio in the car and how often it's swtiched on?
It's hard to profess total prohibition in this case. Beside the obvious difficulties there is a phenomenon known as social inertia. There is also a true saying that breaking is easier than fixing. This music is a drug. Yet it can be consumed without compromising immune system too much. The most important thing about all this is to KNOW. And thus be FREE to CHOOSE the right thing.
And one last thing - if this long and wordly answer format is to your liking, I have to say - don't get too much hopes up. It is unlikely that I will be able to propmtly respond with articles like that very often. But I hope I've explained what I meant and that you understood it. It's not the help you asked, but maybe a song can make you feel better (Bear, if you're reading this - you're likely to like this one):
http://www.youtube.com/watch?v=YAC9vJr--Us
Last edited on Mon May 13th, 2013 05:13 am by