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In the second part of the experiment, involving 450 new subjects, the researchers gave each participant 72 descriptions of emotional songs, which expressed feelings including "contempt," "narcissism," "inspiration" and "lustfulness."
实验的第二部分有450名新受试者，研究人员给每位受试者描述了72首深情歌曲，这些歌曲表达了"轻蔑""自恋""鼓舞"和"爱欲"等情感。
For comparison, they also gave participants prompts that described a conversational interaction in which someone expressed their feelings. (For example: "An acquaintance is talking to you about their week and expresses feelings of wistfulness.")
为了进行比较，研究人员还给受试者提供了一些描述对话互动的提示语，在对话互动中，某人表达了自己的感受。（例如："一位熟人正在和你聊他过去一周的事，并表达了怀念的感觉。"）
On the whole, the emotions that subjects felt were deeply rooted to "what music is all about" were also those that made people feel more connected to one another in conversation: love, joy, loneliness, sadness, ecstasy, calmness, sorrow.
总体而言，受试者认为深深植根于"音乐本质"的那些情感，也是在交谈中让人感觉自己与他人联系更紧密的情感：爱、欢乐、孤独、悲伤、狂喜、平静、悲痛。
Mario Attie-Picker, a philosopher at Loyola University Chicago who helped lead the research, found the results compelling.
芝加哥洛约拉大学的哲学家马里奥·阿蒂-皮克帮助领导了这项研究，他认为结果很有说服力。
After considering the data, he proposed a relatively simple idea: Maybe we listen to music not for an emotional reaction -- many subjects reported that sad music, albeit artistic, was not particularly enjoyable -- but for the sense of connection to others.
在考虑了这些数据后，他提出了一个相对简单的说法：也许我们听音乐不是为了产生某种情感--许多受试者报告说，悲伤的音乐虽然很有艺术性，但并不让人感到很愉快--而是为了体会到与他人建立联系的感觉。
Applied to the paradox of sad music: Our love of the music is not a direct appreciation of sadness, it's an appreciation of connection. Dr. Knobe and Dr. Venkatesan were quickly on board.
把这个说法应用于悲伤音乐悖论：我们爱听悲伤的音乐，不是出于对悲伤的直接欣赏，而是出于对彼此之间联系的欣赏。诺布博士和文卡蒂森博士立即表示同意。
"I'm a believer already," Dr. Eerola said when he was alerted to the study. In his own research, he has found that particularly empathetic people are more likely to be moved by unfamiliar sad music.
"我已经很相信这种说法了，"当埃罗拉博士被告知这项研究时，他说。在他自己的研究中，他发现特别有共情能力的人更有可能被没听过的悲伤音乐打动。
"They're willing to engage in this kind of fictional sadness that the music is bringing them," he said. These people also display more significant hormonal changes in response to sad music.
"他们愿意参与到音乐带来的这种虚构的悲伤之中。"他说。这些人在听到悲伤的音乐时，也会表现出更显著的荷尔蒙变化。
But sad music is layered -- it's an onion -- and this explanation prompts more questions. With whom are we connecting? The artist? Our past selves? An imaginary person?
但悲伤的音乐有多重层次--它像一个洋葱--这种解释又引发了更多的问题。我们在与谁建立联系？那个艺术家？过去的自己？一个想象中的人？
And how can sad music be "all about" anything? Doesn't the power of art derive, in part, from its ability to transcend summary, to expand experience?
怎么可以说悲伤的音乐"本质上"就是某种东西呢？艺术的部分力量不就是源于它超越总结、拓展体验的能力吗？
One by one, the researchers acknowledged the complexity of their subject, and the limitations of existing work. And then Dr. Attie-Picker offered a less philosophical argument for their results: "It just feels right," he said.
一个又一个的研究人员承认了这一课题的复杂性，以及现有研究的局限性。然后阿蒂-皮克博士为这些结果提出了一个不那么有哲理的观点："（悲伤的音乐）听起来就是感觉很对。"他说。
