Monson hypothesized that Merro's intention was compiling a collection of serious vocal music.
 He based this conjecture on the presence of more than 70 full anthems in four and five parts, quite a large number.
 Of the modern entries (aside from those written by local composers), most are composed by John Amner and Thomas Tomkins whose style relates more to the older composers (such as Thomas Tallis and John Mundy) than of contemporaneous ones (such as Michael East).
 Monson deduces that Merro's curation can be seen as an act of preservation since the repertory he favored was quickly falling out of favor.

After the consort song, the English madrigal is the next most prominent genre.
Rather than distributing the madrigals throughout the collection, Merro groups them together, selecting what are known as the most popular and most serious, whose sources are from four publications:
Songs of 3.4.5. &
6.
parts (1622) by Thomas Tomkins - 16
Balletts and Madrigals to Five Voyces, with One to 6.
Voyces (1598) by Thomas Weelkes – 14
The First Set of English Madrigals (1598) by Wilbye – 13
Madrigales: The triumphes of Oriana, to 5.
and 6.
voices (1601) - 7
Monson observed the large number of works by Tomkins and suggests the reason could be due to the proximity of Worcester (where Tomkins was organist) to Gloucester (where Merro resided).
Acknowledging the popularity of Weelkes and Wilbye, Monson was struck by the lack of any works by Thomas Morley in Merro's collection.
This suggested to Monson that the composer's popularity was only temporary and was quickly forgotten.
 There are also no works by Orlando Gibbons—unusual considering the 1612 publication of his The first set of madrigals and mottets of 5 parts, apt for viols and voyces. (
According to Monson, "virtually all scribes" similarly ignored Gibbons's works.)

Monson observed a significant number of Italian madrigals with English texts: 11 works from Musical Transalpina (1588), 6 from Italian Madrigals Englished (1590), and 2 from Musical Transalpina II (1597).
 Luca Marenzio is the most popular of Italian composers represented by ten compositions, followed by the inclusion of four by Ferrabosco.
The first Italian madrigal to be entered is by William Byrd, followed by Marenzio's "Every singing byrd" (which Monson hypothesized might be a tribute to the composer William Byrd).
 All remaining Italian madrigals are without text except for their titles, an attribute to be found in other English manuscripts of the time.
Monson attributed this lack of Italian texts to the inability to handle the language.
He noted that in some cases works are included without their titles (such as on folios 62v-64v), presumably as they were intended for viols rather than voices.
 The inclusion of works such as those by Hassler suggests that Merro's interest in the madrigal extended to more unusual examples than those of copyists of similar English manuscripts,  even though he was apparently not concerned with preserving the integrity of the works as madrigals.

Beginning at 139v Merro added another section of Italian works, this time including works for up to eight voices.
 Monson hypothesized that Merro must have had access to the three volumes of Gemmae Musicalis (published in 1588, 1589, and 1590) which would be the explanation for inclusions of the works on leaves 139v-149r.
The two isolated Italian madrigals, "Dolorosi martir" by Marenzio and Tutt'eri foco by Pallavicino were apparently entered as afterthoughts on what were blank leaves.

For the Latin motets, Merro focused on Englishmen of the generation of Tallis (died 1585), Shepherd (active in the 1550s) and Mundy (died 1591).
 Merro copied these motets at a time when the composers had been dead for several decades which can explain why many are listed anonymously or have incorrect attributions.
 Monson claimed that the motets by Lassus and Clemens non Papa were late additions.
 That they appear with no text save for their titles provided Monson with the evidence of Merro's "strangely insular attitude toward foreign composers in whatever lan
Monson hypothesized that Merro's intention was compiling a collection of serious vocal music.  He based this conjecture on the presence of more than 70 full anthems in four and five parts, quite a large number.  Of the modern entries (aside from those written by local composers), most are composed by John Amner and Thomas Tomkins whose style relates more to the older composers (such as Thomas Tallis and John Mundy) than of contemporaneous ones (such as Michael East).  Monson deduces that Merro's curation can be seen as an act of preservation since the repertory he favored was quickly falling out of favor.
After the consort song, the English madrigal is the next most prominent genre. Rather than distributing the madrigals throughout the collection, Merro groups them together, selecting what are known as the most popular and most serious, whose sources are from four publications:
Songs of 3.4.5. & 6. parts (1622) by Thomas Tomkins - 16
Balletts and Madrigals to Five Voyces, with One to 6. Voyces (1598) by Thomas Weelkes – 14
The First Set of English Madrigals (1598) by Wilbye – 13
Madrigales: The triumphes of Oriana, to 5. and 6. voices (1601) - 7
Monson observed the large number of works by Tomkins and suggests the reason could be due to the proximity of Worcester (where Tomkins was organist) to Gloucester (where Merro resided). Acknowledging the popularity of Weelkes and Wilbye, Monson was struck by the lack of any works by Thomas Morley in Merro's collection. This suggested to Monson that the composer's popularity was only temporary and was quickly forgotten.  There are also no works by Orlando Gibbons—unusual considering the 1612 publication of his The first set of madrigals and mottets of 5 parts, apt for viols and voyces. (According to Monson, "virtually all scribes" similarly ignored Gibbons's works.)
Monson observed a significant number of Italian madrigals with English texts: 11 works from Musical Transalpina (1588), 6 from Italian Madrigals Englished (1590), and 2 from Musical Transalpina II (1597).  Luca Marenzio is the most popular of Italian composers represented by ten compositions, followed by the inclusion of four by Ferrabosco. The first Italian madrigal to be entered is by William Byrd, followed by Marenzio's "Every singing byrd" (which Monson hypothesized might be a tribute to the composer William Byrd).  All remaining Italian madrigals are without text except for their titles, an attribute to be found in other English manuscripts of the time. Monson attributed this lack of Italian texts to the inability to handle the language. He noted that in some cases works are included without their titles (such as on folios 62v-64v), presumably as they were intended for viols rather than voices.  The inclusion of works such as those by Hassler suggests that Merro's interest in the madrigal extended to more unusual examples than those of copyists of similar English manuscripts,  even though he was apparently not concerned with preserving the integrity of the works as madrigals.
Beginning at 139v Merro added another section of Italian works, this time including works for up to eight voices.  Monson hypothesized that Merro must have had access to the three volumes of Gemmae Musicalis (published in 1588, 1589, and 1590) which would be the explanation for inclusions of the works on leaves 139v-149r. The two isolated Italian madrigals, "Dolorosi martir" by Marenzio and Tutt'eri foco by Pallavicino were apparently entered as afterthoughts on what were blank leaves.
For the Latin motets, Merro focused on Englishmen of the generation of Tallis (died 1585), Shepherd (active in the 1550s) and Mundy (died 1591).  Merro copied these motets at a time when the composers had been dead for several decades which can explain why many are listed anonymously or have incorrect attributions.  Monson claimed that the motets by Lassus and Clemens non Papa were late additions.  That they appear with no text save for their titles provided Monson with the evidence of Merro's "strangely insular attitude toward foreign composers in whatever lan
Drexel 4180–4185