Compassion and Bonds in Music

Music, in substantial part made by Hellish people, is not entirely okay, meaning that its influence upon the subconsciousness of listeners is not too good. And before I say some details about it, as usually I have to point out that Hellish people adapt to what I write about them and because of it they gradually change some things in the world. That is why the following sentences are only valid for the past years, say till 2010. And it is the reason to forget, during this study, all the songs that are newer.

1. The songs pay attention to the heterosexual love of two people, a man and a woman, a little bit more than it should be.

2. The way the songs are made and used suggests a hidden lack of sympathy for the most intensely suffering people.

Why is that?
Please compare the songs about the heterosexual love with those that sing about the most intensely suffering people. The ones singing about love more often mention details like places on the body or related subjective feelings, whereas the ones about the suffering do not mention them so often (they do not "describe" the details of what the suffering person feels inside). Those who suffer most are devoted a much smaller amount of attention than those who are in love.
But Hellish people like to make impression that they have much of compassion with the suffering. And after I said this, maybe they could change the new songs and broadcast the few old ones that sing about the suffering people in a detailed way, which would look as if everything about their compassion was okay.
For the records, there is a strange paradox. The same Hellish people that compose many songs about love, in accordance with their secret rules they sometimes use to spoil it to normal people.

3. The type of melody often deliberately does not match the meaning of words used in the text of songs. Melodies often create a weaker or stronger link between the listener's subconsciousness and what the song sings about. If the text is unsuitable or even dangerous, in some cases it can harm some listeners, which is abused for what I call "demon's teasers", for example.
By the way, what was written in my article "The Development of Human Thinking" is also valid for music: "Normal people get one part of the knowledge in a very precise and correct form, one part in a deliberately-wrong form and one part is skipped fully, which results in the above-mentioned "mutilation of human thinking"."

Reflection on the kinds of "musical bonds"

By subject:

1. The indirect - Something else is sang about, than what occurs in the environment in which the song is listened to (e.g. it is about love met on the discotheque in the city, but it is listened to in a cottage in the woods; or it is about a cold Alaska, but listened to in a hot Kenya) and/or what is in contrast with how the listener is tuned inside (e.g. it is about a good mood, but the listener has a bad one, intensely thinking on a revenge).
This type of "musical bond" has advantage in creating a link between some diverse objects & subjects (or, if you like, in keeping their affinity) do not belonging or only indirectly belonging to each other.

2. The direct - It deals with melodies and words, exactly matching the environment, in which they are sung and/or how the listener is tuned inside during listening to them, which creates direct and strong link between objects & subjects (e.g. song about love for mother with suitable tones and text, listened to in the presence of mother, to who the listener experiences positive feelings in given moment). This is a big advantage, which disadvantage can only be that that when there is too much of it, there can be a too strong and powerful exchange of energy between objects & subjects (a too big "approach" to each other), which can do them harm in the end.

3. The mixed - These are a mixture of the first and second kind, more precisely an interstage between them (e.g. in the cottage in the woods you listen to the song, which text is about fields that are not in your immediate vicinity, but they are founding themselves not far from you behind the forest; you think on wrestling and the song's text is about bodybuilding and having big muscles, which is related to wresting, but it is missing the combative factor).

By accordance between melody and text:

1. The wrong - It is about melodies and texts that do not go together. Some of these melodies can be even deliberately tempting & engaging, creating a stronger subconscious link to something, to which it should be weaker or none at all. In some cases it can be harmful to the listeners.

2. The correct - It means songs with melodies and texts that perfectly suit one another.

3. The mixed - Something is correct and something wrong, whilst none of the two prevails much.

The Most Suitable Solution:

It deals with the direct up to mixed kinds of musical bonds by subject and with the correct musical bonds by melody & text.

Just as a matter of interest, because of what I have always called "the keeping of spiritual affinity of everything with everything" (although this expression is not fully correct), for the full transformation of its inner environment, this Ball needs some incorrect things like the indirect kind of musical bonds by subject and the wrong one by melody & text. It is one of many reasons why there are Hellish people etc.