The elevated status of Monteverdi's 1610 Vespers over the last century provides the starting point for an enquiry into which factors render it so durable. In going against the grain of recent attempts to discern the possible liturgical context for its original performance, this study claims that the collection as a whole (components of which undoubtedly had liturgical origins) can only be exemplary. Moreover, Monteverdi, in his intense engagement with the impersonation of liturgical chanting, has effectively rendered it the analogue of an actual service. Several features suggest that he is capturing something of the listening experience of a liturgy, complete with its distortions and memories. As a collection that is ‘about’ Vespers and which doubles the experience one might be having, this has something in common with the ‘musical work’ as defined by later classical practice, and its very religiosity resonates with the secularized ideology of musical autonomy.

中文翻译：

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蒙特威尔第，1610 年的晚祷和现代音乐作品的开端

蒙特威尔第 1610 年晚祷在上个世纪的地位提升，为探究哪些因素使其如此经久不衰提供了起点。与最近试图识别其原始表演可能的礼仪背景的尝试背道而驰，这项研究声称，作为一个整体（其中的组成部分无疑具有礼仪起源）只能是典范。此外，蒙特威尔第在他对模仿礼仪诵经的强烈参与中，有效地将其变成了实际服务的类似物。有几个特征表明他正在捕捉某种仪式的聆听体验，包括它的扭曲和记忆。作为一个“关于”晚祷的系列，它使人们可能拥有的体验翻倍，