There has been much publicity about unprovoked, mindless acts of aggression. The perpetrators of such violence do not fit neatly into certain categories or
age-groups, but range right across the whole of society. How can that be? There must be certain common denominators.
Clearly, no one factor can be held responsible, although a number of obvious ones abound, eg:-
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Increasing drug, solvent and alcohol abuse -
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Public apathy when faced with anti-social behaviour
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Lack of respect for authority and/or common decency
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A tendency for people not be to accept responsibility for their actions
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etc.
Amongst the many theories which have been advanced so far, disquiet has been voiced in respect of some computer/video games which seem to
glamourise brutal acts. Many experts have dismissed such influences as minimal; however, during the course of my work (using music to teach), I believe I have uncovered a powerful conditioning process, further consolidated by subliminal reminders, which should not be ignored.
MUSIC AROUSES EMOTIONS
My company sells pedagogic ideas for use with Beatles' music, when teaching English to non-native speakers. I have recently discovered that, by using such music to teach, grammar points can be continually reinforced years after the actual lesson, even in the students' own country where exposure to the English language could
be practically nil. Used positively, this could almost be described as the
perfect teaching medium; on the other hand, misuse (intentional or accidental) could have disastrous consequences. (My article
"The
Perfect Teaching Medium" was first published in ELT News & Views, Argentina). The process consists of three main stages: these are summarised as follows:-
| STAGE 1: MEMORABLE INPUT OF TEACHING POINTS
An enjoyable lesson, given in combination with a commercial song, which arouses certain emotions (eg: recognition, sadness, pleasure, etc.) |
| STAGE 2: CONSCIOUS REMINDERS OF TEACHING POINTS
The song is likely to be heard and recognised in:- discos, pubs, homes, shops, streets, etc., thereby invoking memories of the original lesson (possibly reinforced further by singing, humming or dancing to the melody.) |
| STAGE 3: SUBLIMINAL REMINDERS OF TEACHING POINTS
Visits to people and places which have past associations with the song, eg: the song was heard when dancing, lunching, shopping with someone, etc. |
Most of us can recall the glorious Hollywood 'tear-jerkers' and the hilarious 'silents', both of which depended heavily on music to create the right atmosphere. In fact, the entertainment world has a history of using dramatic music to determine the mood of its audiences.
EMOTIONS ENHANCE MEMORY
Think back for a moment and you are more likely to recall events in which certain emotions (such as anger, embarrassment, disappointment, excitement, relief, etc.), have been aroused better than events which were relatively emotionless. For example, which of the following would you remember most?
a) crossing a certain road calmly and safely each day?
b) crossing the same road, but as a hair-raising dash to the other side, achieved by the skin of your teeth?
Undoubtedly, the feelings of fear and relief, encountered in example (b) would be implanted on your memory for quite some time, perhaps to be recalled or relived each time that particular road is crossed, or even when crossing any road if the experience was singularly frightening.
INDOCTRINATED BY FREQUENCY & REPETITION
The use of emotions in the classroom is relatively new; however, learning by repetition is not and was once traditionally employed as a major teaching method. We are all aware of the destructive results achieved by brainwashing techniques incorporating constant repetition, yet many parents from all walks of life unwittingly purchase equipment which can brainwash their children (and sometimes themselves), with repetitive sounds and music which are not only capable of blocking out creative thought, but which can also team limited thoughts with visual violence and pleasurable emotions so that the three are mentally linked together for evermore.
A similar technique is already employed by many TV advertisers, ie: catchy, memorable tunes are teamed with dramatic, visual images which arouse certain emotions relating to:- sex, comfort, envy, hunger, ambition, admiration, aggression, etc.
The brainwashing power of repetitive music, which accompanies computer/video games, seems to have been overlooked by the experts, perhaps because the music chosen is usually familiar or well-known (often traditional or classical). For this reason, it is likely to be heard at times other than when using the games. Computer/video games are played for hours. They can be addictive and the urge for each "fix" (in this case: exciting, violent images) to be more extreme than the one before to produce the same sense of satisfaction is quite usual with reality becoming even less and less meaningful between each "fix". Furthermore, television companies now screen special cartoon programmes, which feature characters from certain computer/video games accompanied by repetitive music and sounds. Shops sell toys, clothes, toiletries and other products linked to films and games.
VIOLENT IMAGES REINFORCED BY MUSIC & EMOTIONS
Hollywood's use of classical music for enhancing dramatic scenes was skilful and relatively harmless compared with current practices.
Certain pop music is already suspected of invoking violent feelings; this is often encouraged by the groups themselves when the destruction of their instruments is included as an essential part of their act to whip up a frenzy of violent passions in emotionally-disturbed fans.
Other pop music can arouse a whole host of insecurities in the inadequate, yet many modern film-makers use vogue music to awaken strong sensations during dramatic scenes, featuring excessive violence and suffering. (eg: The Rolling Stones "I Can't Get No Satisfaction" was played during a violent scene in
a film starring Arnold Schwarzenegger.) Furthermore such scenes can usually be watched repeatedly, on video at the touch of a button, by those least likely to condemn such violence, but rather to revel in it.
Has anyone considered how an intense interest in violence follows a similar pattern to extreme tastes in pornography?
To maintain interest, each visual image must be more degrading than the one before.
The three stages, relating to input and memory, could then be seen quite differently:-
| STAGE 1
MEMORABLE INPUT OF VIOLENCE REINFORCED STRONGLY BY CONSTANT REPETITION OF MUSIC & VIOLENT IMAGES TEAMED WITH A RANGE OF STRONG NEGATIVE EMOTIONS
Violent computer/video game - often played for hours, day after day
OR Violent scenes in a film - often seen more than once
TYPICAL EMOTIONS & REACTIONS triumph, disappointment, fierce determination, relief, annoyance, aggression, a
sense of achievement from cruel actions, amazement at suffering which can
be inflicted followed by gloating, identification with invincible
characters
|
| STAGE 2
CONSCIOUS REMINDERS OF VIOLENCE
Apart from visual reminders, eg: slogans, posters, toys, etc., song/music likely to be heard and recognised in:- discos, pubs, homes, shops, streets, etc. followed by memories of enjoyment and/or discussion of gory details. Memory is reinforced even further by singing, humming, dancing to melody. |
| STAGE 3
SUBLIMINAL REMINDERS OF VIOLENCE
Visits to people and places which have past associations with the song/game/music, eg: shops, mates, etc., or even just the sight of certain objects, eg: TV screen, joystick, etc. |
Most people are reliant upon a highly-developed visual memory; therefore progressively violent images teamed with both repetitive, brainwashing music and a wide range of strong sensations should give rise to concern. Add to this, the subliminal reminders which surround us all and it is easy to see how susceptible people could unwittingly become a walking time-bomb, programmed to commit violence which cannot be anticipated, controlled, or avoided.
Manipulation of minds is taking place on a phenominal scale, yet to all intents and purposes so subtle it remains unrecognised by the victims. The world of advertising has already recognised the potential and has developed highly sophisticated techniques which dictate our lifestyles, opinions and attitudes far more than any of us realise; there is every chance that society may not recognise the powerful link between music and violence until it escalates out of control.
Some games can already be operated without music, yet still retain the sound effects. Until more games have this option, few conscientious parents would be able or brave enough to insist on the sound being turned off, or impose strict time limits, etc. For other parents, these machines provide a quiet life in the short term which might seem more important to them.
An awareness of what is happening could help to put people on their guard, but how many game addicts would be willing to forego any part of what feeds their addiction (ie: music, visual images, sensations) remains to be seen. Nevertheless, guidelines should be issued for conscientious parents so they may counteract current influences which promote violence and be more prepared for the pitfalls which future technology has in store for us.
In conclusion, I would be interested to know whether you feel this theory has any relevance worldwide and would welcome your comments.
THE END
Copyright 2002, Musical English Lessons
International. All rights reserved.
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