劍橋雅思12test7passage3閱讀原文翻譯

劍橋雅思12Test7Passage3閱讀的標題為：Music and the emotions音樂與情感，想要了解該篇閱讀的翻譯，那么就看看下文吧。

劍橋雅思12test7passage3閱讀原文翻譯

第1段

Why does music make us feel?On the one hand,music is a purely abstract art form,devoid of language or explicit ideas.And yet,even though music says little,it still manages to touch us deeply.When listening to our favourite songs,our body betrays all the symptoms of emotional arousal.The pupils in our eyes dilate,our pulse and blood pressure rise,the electrical conductance of our skin is lowered,and the cerebellum,a brain region associated with bodily movement,becomes strangely active.Blood is even re-directed to the muscles in our legs.In other words,sound stirs us at our biological roots.

音樂為什么能讓我們有所觸動?一方面，音樂是種完全抽象的藝術(shù)形式，沒有任何語言或者清晰的想法。但即便音樂什么都沒有說，它仍然可以觸及我們的心底深處。當聽到我們最喜愛的歌曲時，我們的身體會顯示出各種情緒受到激發(fā)的現(xiàn)象。眼睛瞳孔會擴張，心跳加快，血壓上升，皮膚的電導(dǎo)率會下降，而小腦-與身體運動有關(guān)的大腦區(qū)域-會變得異常活躍。血液甚至會重新導(dǎo)入我們腿部的肌肉。換句話說，聲音會從我們最深處的生物根源撩動我們。

第2段

A recent paper in Nature Neuroscience by a research team in Montreal,Canada,marks an important step in revealing the precise underpinnings of‘the potent pleasurable stimulus‘that is music.Although the study involves plenty of fancy technology,including functional magnetic resonance imaging(FMRI)and ligand-based positron emission tomography(PET)scanning,the experiment itself was rather straightforward.After screening 217 individuals who responded to advertisements requesting people who experience‘chills’to instrumental music,the scientists narrowed down the subject pool to ten.They then asked the subjects to bring in their playlist of favourite songs–virtually every genre was represented,from techno to tango–and played them the music while their brain activity was monitored.Because the scientists were combining methodologies(PET and fMRI),they were able to obtain an impressively exact and detailed portrait of music in the brain.The first thing they discovered is that music triggers the production of dopamine–a chemical with a key role in setting people’s moods–by the neurons(nerve cells)in both the dorsal and ventral regions of the brain.As these two regions have long been linked with the experience of pleasure,this finding isn’t particularly surprising.

最近由加拿大蒙特利爾的一個研究團隊發(fā)表在《自然神經(jīng)科學(xué)》上的一篇論文標志著在揭示音樂這一“強烈愉悅刺激”的本質(zhì)上向前邁出了一步。雖然該研究涉及到許多高端技術(shù)，包括功能性核磁共振成像以及基于配體的正電子釋放層成像掃描，但實驗自身其實十分簡單明了。在對217名響應(yīng)廣告的個體進行篩選之后(廣告征集那些聽到器樂感到“全身顫抖”的人)，科學(xué)家將實驗對象縮小到10人。然后，他們讓這些人提供自己最喜歡的歌曲的播放清單-幾乎包括了所有風格，從科技電音到探戈曲目等等，并在為他們播放這些音樂的時候?qū)λ麄兊拇竽X活動進行監(jiān)測。由于科學(xué)家結(jié)合了PET和fMRI這兩種方法，他們可以獲得大腦中音樂十分準確細致的圖像。他們的第一個發(fā)現(xiàn)是，音樂刺激大腦背面和腹面的神經(jīng)元產(chǎn)生多巴胺-一種調(diào)節(jié)人們情緒的關(guān)鍵化學(xué)物質(zhì)。由于這兩個區(qū)域早已被證明與愉悅的體驗有關(guān)，這一發(fā)現(xiàn)并不是很讓人驚訝。

第3段

What is rather more significant is the finding that the dopamine neurons in the caudate–a region of the brain involved in learning stimulus-response associations,and in anticipating food and other‘reward’stimuli–were at their most active around 15 seconds before the participants’favourite moments in the music.The researchers call this the‘a(chǎn)nticipatory phase’;and argue that the purpose of this activity is to help us predict the arrival of our favourite part.The question,of course,is what all these dopamine neurons are up to.Why are they so active in the period preceding the acoustic climax?After all,we typically associate surges of dopamine with pleasure,with the processing of actual rewards.And yet,this cluster of cells is most active when the‘chills’have yet to arrive,when the melodic pattern is still unresolved.

更重要的一項發(fā)現(xiàn)是，尾狀核(大腦區(qū)域中負責學(xué)習刺激-應(yīng)激關(guān)聯(lián)和預(yù)期食物與其他獎勵刺激的區(qū)域)中的多巴胺神經(jīng)元在實驗對象最喜歡的樂曲部分到來之前的15秒處于最活躍的狀態(tài)。研究者將其稱之為“預(yù)期階段”，并認為這一活動的目的是幫助我們迎接最喜歡的部分的到來。當然，問題在于這些多巴胺神經(jīng)元究竟想做什么。它們?yōu)槭裁丛跇非叱敝叭绱嘶钴S?畢竟，我們通常將多巴胺的激增與愉悅，以及處理實際的獎勵聯(lián)系在一起。然而，這些細胞在“顫抖”還沒到來，在旋律結(jié)構(gòu)尚未完全展開的時候就處于最活躍的狀態(tài)。

第4段

One way to answer the question is to look at the music and not the neurons.While music can often seem(at least to the outsider)like a labyrinth of intricate patterns,it turns out that the most important part of every song or symphony is when the patterns break down,when the sound becomes unpredictable.If the music is too obvious,it is annoyingly boring,like an alarm clock.Numerous studies,after all,have demonstrated that dopamine neurons quickly adapt to predictable rewards.If we know what’s going to happen next,then we don’t get excited.This is why composers often introduce a key note in the beginning of a song,spend most of the rest of the piece in the studious avoidance of the pattern,and then finally repeat it only at the end.The longer we are denied the pattern we expect,the greater the emotional release when the pattern returns,safe and sound.

回答該問題的一種方法是研究音樂而非神經(jīng)元。雖然音樂常常像精致模式組成的迷宮一樣(至少在外人看來)，但每首歌或者交響曲最重要的部分其實發(fā)生在這些模式破裂，聲音變得不可預(yù)測的時候。如果音樂模式太過明顯，它就會變得像鬧鐘一樣無聊至極，惹人厭煩。畢竟，無數(shù)的研究都證明多巴胺神經(jīng)元會快速適應(yīng)可預(yù)測的獎勵。如果我們知道接下來會發(fā)生什么，那么我們就不會變的興奮。因此，作曲家經(jīng)常會在一首歌開始的地方引入一個關(guān)鍵音符，在接下來的篇幅中竭盡全力避免出現(xiàn)該模式，然后只在結(jié)尾的地方對它進行重復(fù)。我們期待該模式卻不得的時間越長，當這一模式最終圓滿回歸的時候，我們的情感釋放也會越強烈。

第5段

To demonstrate this psychological principle,the musicologist Leonard Meyer,in his classic book Emotion and Meaning in Music(1956),analysed the 5th movement of Beethoven’s String Quartet in C-sharp minor,Op.131.Meyer wanted to show how music is defined by its flirtation with–but not submission to–our expectations of order.Meyer dissected 50 measures(bars)of the masterpiece,showing how Beethoven begins with the clear statement of a rhythmic and harmonic pattern and then,in an ingenious tonal dance,carefully holds off repeating it.What Beethoven does instead is suggest variations of the pattern.He wants to preserve an element of uncertainty in his music,making our brains beg for the one chord he refuses to give us.Beethoven saves that chord for the end.

為了證實這一心理學(xué)原理，音樂學(xué)家Leonard Meyer在他發(fā)表于1956年的經(jīng)典著作《音樂中的情緒與意義》中，分析了貝多芬弦樂四重奏升C小調(diào)131號作品中的第五樂章。Meyer希望展示出，音樂如何通過挑逗而非服從我們對秩序的期待定義自身。Meyer分解了這首大師之作的50個小節(jié)，由此展示貝多芬如何以節(jié)奏分明并和諧的模式開始，然后在接下來獨具匠心的音符舞蹈中小心翼翼地避免重復(fù)它。貝多芬所做的是暗示該模式的種種變化。他希望在他的音樂中保留一種不確定的元素，讓我們的大腦祈求那一組他拒絕賜予我們的和弦。貝多芬將那組和弦一直留到最后。

第6段

According to Meyer,it is the suspenseful tension of music,arising out of our unfulfilled expectations,that is the source of the music’s feeling.While earlier theories of music focused on the way a sound can refer to the real world of images and experiences–its‘connotative‘meaning–Meyer argued that the emotions we find in music come from the unfolding events of the music itself.This‘embodied meaning’arises from the patterns the symphony invokes and then ignores.It is this uncertainty that triggers the surge of dopamine in the caudate,as we struggle to figure out what will happen next.We can predict some of the notes,but we can’t predict them all,and that is what keeps us listening,waiting expectantly for our reward,for the pattern to be completed.

根據(jù)Meryer的看法，正是音樂這種從我們得不到滿足的期望中誕生的懸而未決的張力構(gòu)成音樂觸及我們感受的根源。雖然音樂的早期理論關(guān)注于聲音指向真實世界圖像或經(jīng)驗的方式-即它的“隱晦”含義，Meryer認為我們在音樂中發(fā)現(xiàn)的種種情感來自于音樂本身所展開的事項。這一“體現(xiàn)型含義”來自于交響樂所激發(fā)又可以忽視的模式。正是這種不確定性引發(fā)尾狀核中多巴胺的激增，因為我們會努力弄清楚接下來要發(fā)生什么。我們能夠預(yù)測到一些音符，但我們無法預(yù)測到所有的旋律。這是這一點讓我們繼續(xù)聽下去，充滿期待地等待著我們的獎勵，等待著模式最終完成。

劍橋雅思12test7passage3閱讀原文翻譯就到這里結(jié)束了，在做雅思閱讀的時候最重要的是要將其完全弄明白，盲猜對的毫無意義。

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